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 Mauritania and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord 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 Easy Going to the electroclash kids.
I played it at the Roxy.
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 Cluster. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Rufus Thomas,
Black Bananas,
Lou Reed & John Cale,
Massinfluence,
Kool Moe Dee,
The American Breed,
Pulsallama,
Maurizio,
Roy Ayers Ubiquity,
MDC,
Altered Images,
Crispian St. Peters,
The Last Poets,
Thinking Fellers Union Local 282,
Orchestral Manoeuvres in the Dark,
The Cosmic Jokers,
Rites of Spring,
The Leaves,
OOIOO,
Prince Buster,
Brick,
Spandau Ballet,
a-ha,
Bobbi Humphrey,
Ultravox,
Rhythim Is Rhythim,
Lower 48,
This Heat,
Country Teasers,
Zapp,
The Cowsills,
Bush Tetras,
Man Parrish,
Strawberry Alarm Clock,
The Vogues,
Roy Ayers,
Mo-Dettes,
Barbara Tucker,
World's Most,
Brand Nubian,
Curtis Mayfield,
Patti Smith,
Heaven 17,
Sun City Girls,
Laurel Aitken,
Bobby Byrd,
Leonard Cohen,
Marine Girls,
Barry Ungar,
Jeff Mills,
Jesper Dahlback,
Roger Hodgson,
Faust,
Mission of Burma,
The Seeds,
X-102,
The Fuzztones,
Davy DMX,
Motorama, Motorama, Motorama, Motorama.
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.