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 Afghanistan and from Manila.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Matthew Bourne to the dance kids.
I played it at the Astoria.
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 Frankie Knuckles. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every New Age Steppers 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Isaac Hayes,
Avey Tare's Slasher Flicks,
Warsaw,
Pole,
Slick Rick,
Danielle Patucci,
Kool G Rap & DJ Polo,
Bobby Byrd,
Roy Ayers Ubiquity,
Eli Mardock,
Boz Scaggs,
Black Pus,
Young Marble Giants,
Terror Squad Feat. Camron,
Massinfluence,
Maurizio,
Funkadelic,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Normal,
The Litter,
One Last Wish,
Siglo XX,
Colin Newman,
Man Eating Sloth,
Eurythmics,
cv313,
Altered Images,
Nik Kershaw,
Laurel Aitken,
Interpol,
Eyeless In Gaza,
It's A Beautiful Day,
Masters at Work,
Super Lover Cee & Casanova Rud,
The Slackers,
the Slits,
Radiohead,
DNA,
Schoolly D,
The Monks,
Marc Almond,
The Standells,
Wighnomy Brothers & Robag Wruhme,
Albert Ayler,
The Alarm Clocks,
Juan Atkins,
Sarah Menescal,
Echospace,
Röyhkä ja Rättö ja Lehtisalo,
Can,
Mantronix,
The Stooges,
Connie Case,
Deutsch Amerikanische Freundschaft,
Tears for Fears,
Deadbeat,
Moby Grape,
Tom Boy,
New Age Steppers,
Essential Logic,
Groovy Waters,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.