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 Tanzania and from Madrid.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Manila.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Standells to the punk 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 Sister Nancy. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
New Order,
Tubeway Army,
The Fire Engines,
Gil Scott-Heron & Brian Jackson,
Marc Romboy vs. Booka Shade,
Notorious Big And Bone Thugs,
Drive Like Jehu,
Pere Ubu,
Ohio Players,
Moebius,
The Young Rascals,
Dead Boys,
The Cosmic Jokers,
Supertramp,
Amon Düül II,
Q and Not U,
Unrelated Segments,
Dark Day,
The Selecter,
Banda Bassotti,
Rhythim Is Rhythim,
The Royal Family And The Poor,
Neil Young & Crazy Horse,
Liaisons Dangereuses,
Dave Gahan,
Wings,
Electric Light Orchestra,
Donald Byrd,
Roy Ayers,
Joensuu 1685,
Bluetip,
Lou Reed & Metallica,
Hot Snakes,
The Kinks,
Cal Tjader,
the Soft Cell,
Das Ding,
Drexciya,
De La Soul & Jungle Brothers,
Man Parrish,
DeepChord presents Echospace,
The Associates,
Terrestrial Tones,
Heavy D & The Boyz,
a-ha,
Lindisfarne,
Mandrill,
Derrick Morgan,
The Gap Band,
D'Angelo,
Japan,
Deutsch Amerikanische Freundschaft,
Bill Wells,
New York Dolls,
Barry Ungar,
Gang Starr,
Sällskapet,
Gabor Szabo,
Gil Scott Heron,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.