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 Cape Verde and from Cairo.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Delhi 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 theremin 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 Country Joe & The Fish to the disco 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 Jerry Gold Smith. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Charles Mingus 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 '60s cut and another box set from the '90s.
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 Mantronix 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?
Tomorrow,
CMW,
Kings Of Tomorrow,
Electric Prunes,
Moby Grape,
Lakeside,
Johnny Osbourne,
Nas,
Negative Approach,
Brick,
Skarface,
Saccharine Trust,
Cybotron,
Rekid,
The United States of America,
Erasure,
Blancmange,
Drexciya,
Fad Gadget,
The Martian,
Black Sheep,
Inner City,
K-Klass,
The Evens,
Absolute Body Control,
Make Up,
Los Fastidios,
Todd Rundgren,
Pere Ubu,
Clear Light,
Mad Mike,
Franke,
Quadrant,
Fluxion,
Jesper Dahlback,
Brothers Johnson,
Fugazi,
Gang of Four,
Bill Wells,
Jesper Dahlbäck,
Yaz,
Eddi Front,
Scan 7,
The Young Rascals,
The Dirtbombs,
Eden Ahbez,
Joey Negro,
Black Flag,
Pussy Galore,
Cecil Taylor,
the Normal,
Underground Resistance,
John Foxx,
Zero Boys,
The Remains,
Orchestral Manoeuvres in the Dark,
ABC,
Cluster,
Sex Pistols,
A Flock of Seagulls,
Blake Baxter,
The Standells,
Monks,
Kurtis Blow,
Warsaw, Warsaw, Warsaw, Warsaw.
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.