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 Tanzania and from Glasgow.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Paris 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Moby Grape to the funk kids.
I played it at the Astoria.
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 The Mojo Men. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Alphaville,
Bronski Beat,
Fugazi,
Louis and Bebe Barron,
Eli Mardock,
Agent Orange,
Hashim,
Ornette Coleman,
Deepchord,
Heaven 17,
Aswad,
The Gladiators,
Scott Walker,
Oppenheimer Analysis,
Major Organ And The Adding Machine,
Delta 5,
The Doobie Brothers,
In Retrospect,
K-Klass,
Echospace,
Jacob Miller,
The Busters,
Jeff Lynne,
Cecil Taylor,
Icehouse,
Electric Light Orchestra,
Funkadelic,
Blancmange,
Monolake,
The Slackers,
Throbbing Gristle,
Henry Cow,
Clear Light,
Roy Ayers Ubiquity,
Das Ding,
Main Source,
Dorothy Ashby,
Mr. Review,
Fort Wilson Riot,
Eric B and Rakim,
Kurtis Blow,
Scott Walker + Sunn O))),
Section 25,
Ultravox,
Angry Samoans,
Fat Boys,
Barrington Levy,
Stetsasonic,
Steve Hackett,
Minnie Riperton,
Bobby Womack,
Symarip,
The Peanut Butter Conspiracy,
Sun Ra Arkestra,
Mark Hollis,
Bauhaus,
Amon Düül II,
The Vogues,
Eric Copeland,
Moss Icon,
T. Rex,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.