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 Dominica and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
I'm losing my edge to the art-school London 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 theremin sounds with much patience.
I was there when David Bowie 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 Saccharine Trust to the jazz 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 Freddie Wadling. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Brand Nubian,
Jacques Brel,
JFA,
The Associates,
Rowland S Howard / Lydia Lunch,
Janne Schatter,
Amon Düül,
MDC,
Ken Boothe,
the Sonics,
Pylon,
The Fall,
Country Joe & The Fish,
Crash Course in Science,
Lee Hazlewood,
EPMD,
Ultra Naté,
Tomorrow,
New Order,
Jeff Mills,
Make Up,
The Cowsills,
The Trojans,
It's A Beautiful Day,
Wally Richardson,
Wighnomy Brothers & Robag Wruhme,
The Litter,
Derrick May,
Nation of Ulysses,
The Human League,
The Sonics,
Metal Thangz,
Audionom,
Andrew Ashong & Theo Parrish,
Pantytec,
Porter Ricks,
Mark Hollis,
Fugazi,
Shoche,
Curtis Mayfield,
Crime,
Skarface,
Colin Newman,
Rakim,
Delon & Dalcan,
Josef K,
Dual Sessions,
Neu!,
Art Ensemble Of Chicago,
Crispy Ambulance,
Au Pairs,
The Slackers,
Heavy D & The Boyz,
Mandrill,
Black Moon,
Bauhaus,
ABBA,
Popol Vuh,
Wire,
Blancmange,
D'Angelo,
Accadde A,
Q65, Q65, Q65, Q65.
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.