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 Swaziland and from Lagos.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Seoul and Bremen.
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 808 sounds with much patience.
I was there when David Bowie 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 The Mighty Diamonds to the dance kids.
I played it at the Roxy.
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 Move. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Cluster 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
The Standells,
Hardrive,
The Fortunes,
Inner City,
Laurel Aitken,
the Human League,
Swell Maps,
Con Funk Shun,
Mark Hollis,
Mission of Burma,
Khruangbin,
Kurtis Blow,
Jimmy McGriff,
Terrestrial Tones,
The Modern Lovers,
The Knickerbockers,
Chrome,
Talk Talk,
Leonard Cohen,
Wire,
Sandy B,
X-102,
Hoover,
John Cale,
DJ Sneak,
Jerry's Kids,
FM Einheit,
Sad Lovers and Giants,
Archie Shepp,
The American Breed,
DNA,
Symarip,
Das Ding,
Guru Guru,
Monks,
John Holt,
Donald Byrd,
New York Dolls,
Massinfluence,
Lower 48,
Radiohead,
Bob Dylan,
Masters at Work,
The New Christs,
Main Source,
Supertramp,
David McCallum,
Babytalk,
Vaughan Mason & Crew,
Jerry Gold Smith,
Skarface,
Patti Smith,
Pole,
Curtis Mayfield,
New Age Steppers,
Alton Ellis,
Röyhkä ja Rättö ja Lehtisalo,
The Remains,
The Trojans,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.