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 Bulgaria and from Stockholm.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Angry Samoans to the rock kids.
I played it at Cafe Wha.
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 Heavy D & The Boyz. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Pylon,
Sound Behaviour,
Reuben Wilson,
DJ Style,
Bronski Beat,
Scion,
Von Mondo,
Heaven 17,
This Heat,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ohio Players,
a-ha,
The Fugs,
Make Up,
Avey Tare,
The Human League,
Neil Young & Crazy Horse,
Pantytec,
Bang On A Can,
The Sonics,
The Cramps,
Bill Near,
China Crisis,
Dave Gahan,
The Seeds,
Pet Shop Boys,
Black Moon,
The Pop Group,
The Men They Couldn't Hang,
Brick,
Max Romeo,
The Saints,
Todd Terry,
The Gap Band,
Peter and Kerry,
Lightning Bolt,
Tropical Tobacco,
The Walker Brothers,
Ken Boothe,
Roxette,
Supertramp,
Rufus Thomas,
Deutsch Amerikanische Freundschaft,
The Velvet Underground,
Oppenheimer Analysis,
The Cure,
Piero Umiliani,
Eurythmics,
Matthew Halsall,
Q and Not U,
Black Flag,
Harpers Bizarre,
The Fall,
Soft Cell,
Easy Going,
the Bar-Kays,
Bluetip,
The Trojans,
Wolf Eyes,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.