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 Djibouti and from Madrid.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Paris.
I'm losing my edge to the art-school Cairo 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 Lou Reed 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 Skriet to the rap 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 David Bowie. All the underground hits.
All AZ tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
The Royal Family And The Poor,
John Cale,
Bizarre Inc.,
Pantytec,
the Association,
Super Lover Cee & Casanova Rud,
Grandmaster Flash and the Furious Five,
Camberwell Now,
Echospace,
Robert Wyatt,
Rotary Connection,
Scion,
Altered Images,
Larry & the Blue Notes,
Black Moon,
Avey Tare,
CMW,
Thompson Twins,
Electric Light Orchestra,
The Zeros,
Jesper Dahlback,
Radio Birdman,
Sparks,
The Index,
Big Daddy Kane,
Sandy B,
The Seeds,
The Flesh Eaters,
Matthew Halsall,
the Human League,
K-Klass,
Carl Craig,
Connie Case,
Sexual Harrassment,
Aaron Thompson,
Henry Cow,
Amazonics,
Stetsasonic,
ABC,
The Smoke,
Jesper Dahlbäck,
Alice Coltrane,
The Cosmic Jokers,
Whodini,
X-101,
The Smiths,
Deutsch Amerikanische Freundschaft,
Tim Buckley,
Aswad,
Manfred Mann's Earth Band,
the Bar-Kays,
Procol Harum,
The Durutti Column,
The Motions,
Jacques Brel,
Bobby Hutcherson,
Spoonie Gee,
Underground Resistance,
Cabaret Voltaire,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.