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 Lesotho and from Stockholm.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Jakarta.
I'm losing my edge to the art-school Columbus 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 Nile Rodgers 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 Sarah Menescal to the dance 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 MDC. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
The Pretty Things,
X-101,
Steve Hackett,
Sad Lovers and Giants,
Thinking Fellers Union Local 282,
Arthur Verocai,
Pharaoh Sanders and the Fire Engines,
Boogie Down Productions,
The Fall,
Blossom Toes,
Eden Ahbez,
Con Funk Shun,
The Cure,
Boz Scaggs,
Fort Wilson Riot,
Motorama,
Orchestral Manoeuvres in the Dark,
Malaria!,
Surgeon,
Sister Nancy,
Cheater Slicks,
Josef K,
Electric Light Orchestra,
Whodini,
Andrew Hill,
Lucky Dragons,
the Normal,
Cymande,
Shoche,
Mark Hollis,
Glenn Branca,
Tubeway Army,
Kerri Chandler,
Make Up,
R.M.O.,
Strawberry Alarm Clock,
Silicon Teens,
Arcadia,
Deutsch Amerikanische Freundschaft,
Ultramagnetic MC's,
Hoover,
Tom Boy,
Pete Rock & C.L. Smooth,
Mandrill,
Das Ding,
Gong,
Marc Romboy vs. Booka Shade,
cv313,
Donny Hathaway,
Mo-Dettes,
Bobbi Humphrey,
Panda Bear,
Jeff Mills,
Duran Duran,
Dark Day,
The Cosmic Jokers,
The Fuzztones,
Carl Craig,
Roxette,
Sonny Sharrock,
The Grass Roots,
PIL, PIL, PIL, PIL.
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.