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 Laos and from Bologna.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1978.
I'm losing my edge.
To all the kids in Accra and Tehran.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Bobby Byrd to the jazz 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 Harry Pussy. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
CMW,
Sly & The Family Stone,
Brand Nubian,
AZ,
Marc Almond,
The Leaves,
Michelle Simonal,
Pierre Henry,
The Dead C,
Amazonics,
Mars,
The Stooges,
Cabaret Voltaire,
Notorious Big And Bone Thugs,
Don Cherry,
Harmonia,
Rekid,
Skriet,
Sister Nancy,
The Golliwogs,
The Mighty Diamonds,
Jesper Dahlback,
Motorama,
Eric Dolphy,
Groovy Waters,
Lightning Bolt,
Traffic Nightmare,
Au Pairs,
The Royal Family And The Poor,
Tropical Tobacco,
The Wake,
Sticky Fingaz feat. Raekwon,
Liliput,
Siglo XX,
Amon Düül,
Barbara Tucker,
Pagans,
Excepter,
Popol Vuh,
48th St. Collective,
Urselle,
Cluster,
Pantaleimon,
The Smoke,
Zapp,
Public Image Ltd.,
Nas,
Sight & Sound,
Connie Case,
Section 25,
Rosa Yemen,
Soft Cell,
Clear Light,
Panda Bear,
Desert Stars,
Rufus Thomas,
The Human League,
ABBA,
Lizzy Mercier Descloux,
Kauko Röyhkä ja Narttu,
The Doobie Brothers,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.