Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Madagascar and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Delhi kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Dual Sessions to the grunge kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Chocolate Watch Band. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Scrapy,
Duran Duran,
Cluster,
Aaron Thompson,
Lightning Bolt,
Bobby Sherman,
Larry & the Blue Notes,
Davy DMX,
Joe Finger,
Drexciya,
Angels of Light & Akron/Family,
The Velvet Underground,
Alison Limerick,
DNA,
The Tremeloes,
The Barracudas,
Strawberry Alarm Clock,
Procol Harum,
Little Man,
The Vogues,
8 Eyed Spy,
KRS-One,
A Flock of Seagulls,
Swell Maps,
Rites of Spring,
The Detroit Cobras,
Aloha Tigers,
Black Pus,
Electric Prunes,
cv313,
Swans,
The Associates,
Rosa Yemen,
Eddi Front,
The Names,
The Toasters,
Blossom Toes,
Flipper,
Scratch Acid,
Quando Quango,
The Fire Engines,
The Dirtbombs,
Ossler,
Letta Mbulu,
Idris Muhammad,
Arab on Radar,
Maurizio,
Amazonics,
Hot Snakes,
Red Lorry Yellow Lorry,
The Gun Club,
Sound Behaviour,
Terry Callier,
Throbbing Gristle,
Lucky Dragons,
X-102,
Whodini,
Country Teasers,
The Searchers,
Susan Cadogan,
Make Up,
The Zeros, The Zeros, The Zeros, The Zeros.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.