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 Ivory Coast and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Chrome to the jazz kids.
I played it at the Roxy.
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 JFA. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 Alphaville record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Kinks,
Masters at Work,
Joe Finger,
Stetsasonic,
Rotary Connection,
Scrapy,
Buzzcocks,
Minny Pops,
Tres Demented,
Index,
Avey Tare,
Fatback Band,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
Barry Ungar,
Dual Sessions,
Lou Reed & John Cale,
La Düsseldorf,
Harpers Bizarre,
Joe Smooth,
China Crisis,
Rhythim Is Rhythim,
Shoche,
Dark Day,
Technova,
The Wake,
B.T. Express,
Sunsets and Hearts,
The Alarm Clocks,
Brand Nubian,
Neu!,
Cluster,
The Monochrome Set,
Roger Hodgson,
Kurtis Blow,
Delta 5,
Fugazi,
Andrew Ashong & Theo Parrish,
Excepter,
the Swans,
Fifty Foot Hose,
Rosa Yemen,
Metal Thangz,
Juan Atkins,
Andrew Hill,
Maleditus Sound,
Avey Tare & Kría Brekkan,
Bizarre Inc.,
Louis and Bebe Barron,
48th St. Collective,
Chrome,
Ornette Coleman,
Lou Reed,
Gastr Del Sol,
Marvin Gaye,
Barrington Levy,
Hot Snakes,
Zapp,
Guru Guru,
Ohio Players,
Manfred Mann's Earth Band,
Strawberry Alarm Clock,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.