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 Malaysia and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1972.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Matthew Bourne to the disco 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 F. McDonald. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
The Standells,
Crime,
Ajijia Myrayebe,
Man Parrish,
Yellowson,
Lower 48,
Cymande,
Mary Jane Girls,
Electric Light Orchestra,
Das Ding,
The American Breed,
Television,
Sonic Youth,
Kool Moe Dee,
Strawberry Alarm Clock,
Grauzone,
Bob Dylan,
Eli Mardock,
Shuggie Otis,
Pantytec,
Don Cherry,
Peter Gordon & Love of Life Orchestra,
Jeff Lynne,
Model 500,
Sunsets and Hearts,
Radio Birdman,
Sound Behaviour,
Vainqueur,
Mo-Dettes,
Spoonie Gee,
The Pop Group,
Quando Quango,
Liaisons Dangereuses,
Heaven 17,
Television Personalities,
Deakin,
Drexciya,
Severed Heads,
Sun Ra,
The Move,
Tres Demented,
Joyce Sims,
Easy Going,
Eric Copeland,
Rhythim Is Rhythim,
Warsaw,
Charles Mingus,
The Monochrome Set,
Sam Rivers,
The Grass Roots,
Sparks,
Bang on a Can All-Stars,
Bill Near,
Marc Romboy vs. Booka Shade,
Technova,
Kevin Saunderson,
Nick Fraelich,
Yaz,
Aural Exciters,
Frankie Knuckles,
Sex Pistols,
the Normal,
Mantronix,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.