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 Palau and from Woodstock.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Woodstock 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Crooked Eye to the dance kids.
I played it at the Spitz.
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 Little Man. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a 8 Eyed Spy record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Major Organ And The Adding Machine,
Barbara Tucker,
Ajijia Myrayebe,
Captain Beefheart & His Magic Band,
Ken Boothe,
Glenn Branca,
Dead Boys,
The Fall,
Marc Almond,
Kevin Saunderson,
Gian Franco Pienzio,
Gil Scott-Heron and Jamie xx,
Avey Tare,
Hardrive,
Suicide,
Mr. Review,
Stereo Dub,
Bad Manners,
The New Christs,
The Sound,
Ultra Naté,
Carl Craig,
Lebanon Hanover,
Red Lorry Yellow Lorry,
Bluetip,
Robert Hood,
Wings,
Banda Bassotti,
Robert Görl,
X-Ray Spex,
Kauko Röyhkä ja Narttu,
Mad Mike,
UT,
Can,
The Residents,
Marshall Jefferson,
Scan 7,
Jeff Mills,
Eyeless In Gaza,
OOIOO,
Pylon,
Maurizio,
Aswad,
kango's stein massive,
The Skatalites,
Con Funk Shun,
Section 25,
Todd Rundgren,
Tim Buckley,
The Slits,
Janne Schatter,
Minor Threat,
The Human League,
Easy Going,
Roxette,
Freddie Wadling,
Jimmy McGriff,
Ludus,
Orchestral Manoeuvres in the Dark,
Teenage Jesus and the Jerks,
Flipper,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.