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 Cuba and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Tehran.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Ronan to the punk kids.
I played it at the Hacienda.
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 Flash Fearless. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Big Daddy Kane 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Robert Hood,
Mary Jane Girls,
Marmalade,
Man Eating Sloth,
Archie Shepp,
Reuben Wilson,
Stockholm Monsters,
David Bowie,
A Certain Ratio,
The Fall,
Harmonia,
Faraquet,
Sly & The Family Stone,
The Sonics,
Pantytec,
Lou Reed,
B.T. Express,
Marvin Gaye,
Terrestrial Tones,
Soft Cell,
the Association,
T.S.O.L.,
Dead Boys,
Faust,
Spandau Ballet,
Sun Ra,
James Chance & The Contortions,
Marshall Jefferson,
48th St. Collective,
Masters at Work,
Iggy Pop,
Technova,
Bizarre Inc.,
Section 25,
Patti Smith,
Notorious Big And Bone Thugs,
AZ,
The Zeros,
Agitation Free,
The Alarm Clocks,
The Residents,
a-ha,
Angry Samoans,
Infiniti,
the Swans,
Television Personalities,
Los Fastidios,
Wighnomy Brothers & Robag Wruhme,
Skaos,
Bobby Womack,
Judy Mowatt,
La Düsseldorf,
DeepChord presents Echospace,
Cabaret Voltaire,
R.M.O.,
The Litter,
Curtis Mayfield,
Kenny Larkin,
Altered Images,
Major Organ And The Adding Machine,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.