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 Guatemala and from Jakarta.
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 1963 to 1975.
I'm losing my edge.
To all the kids in New York and Spokane.
I'm losing my edge to the art-school Bremen 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 808 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 London Community Gospel Choir to the crunk 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 Robert Hood. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Mojo Men 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Gregory Isaacs,
Richard Hell and the Voidoids,
Gary Puckett & The Union Gap,
Flipper,
The Wake,
Depeche Mode,
Nick Fraelich,
Panda Bear,
Schoolly D,
Bootsy's Rubber Band,
Juan Atkins,
Lucky Dragons,
The Fire Engines,
Robert Hood,
Major Organ And The Adding Machine,
The Count Five,
The Grass Roots,
La Düsseldorf,
The Kinks,
Neu!,
8 Eyed Spy,
The Moleskins,
Ultra Naté,
Underground Resistance,
Siglo XX,
Aaron Thompson,
B.T. Express,
Graham Central Station,
The Angels of Light,
Toni Rubio,
The Evens,
Eric Copeland,
Orchestral Manoeuvres in the Dark,
Duran Duran,
Electric Prunes,
E-Dancer,
Y Pants,
R.M.O.,
Tom Boy,
The Mojo Men,
The Blackbyrds,
Sparks,
Eddi Front,
Aural Exciters,
Television,
Liaisons Dangereuses,
Wally Richardson,
Nik Kershaw,
Minnie Riperton,
The West Coast Pop Art Experimental Band,
Young Marble Giants,
Monks,
Mary Jane Girls,
Qualms,
Ludus,
CMW,
Zero Boys,
Sight & Sound,
The Leaves,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.