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 Guinea and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Paris and Cairo.
I'm losing my edge to the art-school Salvador 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 Nik Kershaw to the techno kids.
I played it at the Troubador.
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 Jacques Brel. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Delon & Dalcan 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Ajijia Myrayebe,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Negative Approach,
Ash Ra Tempel,
Gary Puckett & The Union Gap,
Neu!,
These Immortal Souls,
Bobby Hutcherson,
Sight & Sound,
Depeche Mode,
The Human League,
The Velvet Underground,
Man Parrish,
Electric Light Orchestra,
Bauhaus,
The Divine Comedy,
Judy Mowatt,
Intrusion,
Kings Of Tomorrow,
Boredoms,
Tommy Roe,
Little Man,
Desert Stars,
Joe Smooth,
Whodini,
John Lydon,
Sandy B,
Wings,
The Gap Band,
Magma,
The Angels of Light,
John Holt,
Curtis Mayfield,
Organ,
JFA,
Juan Atkins,
The Neon Judgement,
Stetsasonic,
Mr. Review,
Frankie Knuckles,
Neil Young & Crazy Horse,
Motorama,
Jacob Miller,
Fela Kuti,
The Remains,
In Retrospect,
Donny Hathaway,
Smog,
Notorious BIG live in Amsterdam,
A Certain Ratio,
Ronan,
Fear,
June Days,
Inner City,
Peter & Gordon,
Bill Near,
The Dave Clark Five,
Gichy Dan,
The Techniques,
Lalann, Lalann, Lalann, Lalann.
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.