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 Montenegro and from Winnipeg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Tehran and Jakarta.
I'm losing my edge to the art-school Madrid 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 harpsichord 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 The Invisible to the grunge 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 Country Joe & The Fish. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Ornette Coleman,
The Cramps,
It's A Beautiful Day,
Barry Ungar,
Public Enemy,
Neil Young & Crazy Horse,
The Mummies,
Matthew Halsall,
Yaz,
Sound Behaviour,
James White and The Blacks,
Von Mondo,
Avey Tare's Slasher Flicks,
Jacques Brel,
Ohio Players,
Maurizio,
Pulsallama,
48th St. Collective,
Depeche Mode,
The Alarm Clocks,
X-102,
Gil Scott-Heron and Jamie xx,
the Bar-Kays,
Steve Hackett,
The Count Five,
The Gladiators,
Art Ensemble Of Chicago,
In Retrospect,
Delon & Dalcan,
The Royal Family And The Poor,
Nils Olav,
Susan Cadogan,
Public Image Ltd.,
Kerri Chandler,
Peter Gordon & Love of Life Orchestra,
Scratch Acid,
Chrome,
Arthur Verocai,
FM Einheit,
Excepter,
Funkadelic,
Rod Modell,
Warren Ellis,
The Star Department,
The Gun Club,
Cluster,
Alphaville,
Flipper,
Bill Wells,
The Durutti Column,
the Soft Cell,
June of 44,
Bluetip,
Kings Of Tomorrow,
Loose Ends,
The United States of America,
Slave,
B.T. Express,
Shoche,
Das Ding,
T.S.O.L.,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.