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 Austria and from Jakarta.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Toronto 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 at the first Suicide practice in a loft in New York.
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 Lizzy Mercier Descloux to the electroclash kids.
I played it at the Hacienda.
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 DNA. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Jeff Lynne record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
James White and The Blacks,
Cabaret Voltaire,
Neil Young,
Index,
Donald Byrd,
Jawbox,
Lalann,
the Bar-Kays,
June Days,
Symarip,
Sällskapet,
Country Teasers,
the Human League,
Tomorrow,
Man Parrish,
Schoolly D,
Donny Hathaway,
John Cale,
the Normal,
Newcleus,
Minnie Riperton,
The Smiths,
Scion,
Gil Scott-Heron and Jamie xx,
Pantytec,
Black Pus,
Dark Day,
Harry Pussy,
The Mighty Diamonds,
Chris & Cosey,
The Buckinghams,
Terrestrial Tones,
Cecil Taylor,
Sexual Harrassment,
Oppenheimer Analysis,
Iggy Pop,
The Happenings,
The Remains,
Simply Red,
Graham Central Station,
Vladislav Delay,
The Skatalites,
Cybotron,
Slick Rick,
Spandau Ballet,
The Standells,
Glambeats Corp.,
The Doobie Brothers,
Agitation Free,
Robert Hood,
Hardrive,
Josef K,
Dave Gahan,
Thee Headcoats,
Be Bop Deluxe,
Janne Schatter,
Rakim,
Yaz,
Rhythm & Sound,
The Monks,
Skriet, Skriet, Skriet, Skriet.
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.