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 Azerbaijan and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Charles Mingus to the techno kids.
I played it at Trash.
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 Buzzcocks. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Colin Newman 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Piero Umiliani,
The American Breed,
Ten City,
Ituana,
the Soft Cell,
Eric Copeland,
Underground Resistance,
Bobby Hutcherson,
FM Einheit,
Rhythim Is Rhythim,
Joe Finger,
Make Up,
R.M.O.,
Echospace,
Colin Newman,
The Pretty Things,
The Selecter,
Public Enemy,
Franke,
Kool Moe Dee,
Bluetip,
The Beau Brummels,
Newcleus,
Swans,
Deakin,
Bronski Beat,
The Music Machine,
This Heat,
Circle Jerks,
The Victims,
Rakim,
Warsaw,
Brand Nubian,
Marc Almond,
The West Coast Pop Art Experimental Band,
The Durutti Column,
Girls At Our Best!,
Loose Ends,
Patti Smith,
Marcia Griffiths,
Liliput,
Cluster,
Bobby Womack,
The Invisible,
Suburban Knight,
Surgeon,
Kevin Saunderson,
Motorama,
The Real Kids,
Roxette,
Marmalade,
Lee Hazlewood,
Tom Boy,
Drexciya,
Roger Hodgson,
The Smiths,
Boredoms,
Soul Sonic Force,
Manfred Mann's Earth Band,
Drive Like Jehu,
Visage,
Chris Corsano,
Derrick May,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.