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 Tunisia and from Salvador.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
I'm losing my edge to the art-school New York 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the chamberlin 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 June of 44 to the grime kids.
I played it at CBGB's.
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 Jesus and Mary Chain. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Man Eating Sloth 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 '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Stockholm Monsters,
Bobby Sherman,
Susan Cadogan,
Supertramp,
Justin Hinds & The Dominoes,
Crime,
Al Stewart,
Vladislav Delay,
The Alarm Clocks,
The Moody Blues,
Brass Construction,
Cabaret Voltaire,
Orchestral Manoeuvres in the Dark,
The United States of America,
Gil Scott-Heron and Jamie xx,
Dorothy Ashby,
Ronan,
Godley & Creme,
Jawbox,
The Toasters,
Scientists,
Goldenarms,
Slave,
Jeff Mills,
The Black Dice,
Roy Ayers,
The Red Krayola,
The Mojo Men,
Alice Coltrane,
Rapeman,
The Zeros,
The American Breed,
Audionom,
Gil Scott Heron,
Faust,
Avey Tare & Kría Brekkan,
Pet Shop Boys,
Inner City,
UT,
Underground Resistance,
Danielle Patucci,
Drexciya,
Donny Hathaway,
Davy DMX,
Agent Orange,
One Last Wish,
Jandek,
Groovy Waters,
PIL,
Cameo,
The Detroit Cobras,
Sex Pistols,
The Electric Prunes,
Johnny Osbourne,
Sonny Sharrock,
Rod Modell,
Dead Boys,
Crooked Eye,
Derrick May,
Hardrive,
Talk Talk,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.