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 Romania and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Accra and New York.
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 linndrum 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 The Move to the electroclash kids.
I played it at the Crocodile.
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 Henry Cow. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Minnie Riperton 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
The Men They Couldn't Hang,
Eyeless In Gaza,
Rhythm & Sound,
L. Decosne,
Technova,
Robert Görl,
Josef K,
Kool G Rap & DJ Polo,
Althea and Donna,
Big Daddy Kane,
Mark Hollis,
Visage,
The Buckinghams,
Bush Tetras,
Masters at Work,
Gang Green,
the Swans,
Vladislav Delay,
Nik Kershaw,
Lizzy Mercier Descloux,
The Pretty Things,
Roxette,
Captain Beefheart & His Magic Band,
kango's stein massive,
Camouflage,
Matthew Halsall,
AZ,
Erykah Badu,
Young Marble Giants,
Peter Gordon & Love of Life Orchestra,
New Order,
Lucky Dragons,
Derrick Morgan,
The Beau Brummels,
Malaria!,
Ituana,
Joey Negro,
Laurel Aitken,
The Tremeloes,
Zapp,
Wolf Eyes,
Lonnie Liston Smith,
Porter Ricks,
The Black Dice,
Mad Mike,
The Busters,
Tom Boy,
The Durutti Column,
Main Source,
Heaven 17,
Traffic Nightmare,
June Days,
EPMD,
Aaron Thompson,
The Cowsills,
Sällskapet,
Infiniti,
The Gap Band,
Eric B and Rakim,
Fear,
Adolescents,
Darondo, Darondo, Darondo, Darondo.
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.