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 Monaco and from Winnipeg.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Be Bop Deluxe to the jazz kids.
I played it at Cafe Wha.
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 Eden Ahbez. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every The Remains 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 '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Clear Light,
Peter and Kerry,
Kauko Röyhkä ja Narttu,
The J.B.'s,
Marvin Gaye,
The Dirtbombs,
Funky Four + One,
Yazoo,
Smog,
Eyeless In Gaza,
The Vogues,
Quantec,
Theoretical Girls,
Depeche Mode,
Eden Ahbez,
Grandmaster Flash,
Main Source,
Reagan Youth,
Hashim,
The Peanut Butter Conspiracy,
Fifty Foot Hose,
Matthew Halsall,
Spoonie Gee,
James White and The Blacks,
Gabor Szabo,
Hasil Adkins,
the Normal,
Franke,
Ten City,
Arcadia,
Subhumans,
Audionom,
Siouxsie and the Banshees,
Crooked Eye,
Animal Collective,
The Golliwogs,
Sonic Youth,
Howard Jones,
Brick,
Black Moon,
The Walker Brothers,
Rotary Connection,
Fear,
Matthew Bourne,
Gil Scott Heron,
Derrick Morgan,
John Cale,
D'Angelo,
Mantronix,
The United States of America,
Roger Hodgson,
The Doors,
Sun City Girls,
Rahsaan Roland Kirk,
Babytalk,
Cameo,
The Durutti Column,
Guru Guru,
Fort Wilson Riot,
Oneida,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.