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 Gambia and from Beijing.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Columbus 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron 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 Kenny Larkin to the rap kids.
I played it at Trash.
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 Ossler. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes 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 Birthday Party,
Sound Behaviour,
Aaron Thompson,
DJ Sneak,
Fifty Foot Hose,
Selector Dub Narcotic,
Eyeless In Gaza,
Zapp,
Rhythim Is Rhythim,
Sarah Menescal,
Can,
These Immortal Souls,
In Retrospect,
Ultramagnetic MC's,
The Slits,
The American Breed,
Television,
D'Angelo,
Loose Ends,
Joy Division,
Gil Scott Heron,
Easy Going,
Agent Orange,
Art Ensemble Of Chicago,
The Beau Brummels,
Los Fastidios,
Warren Ellis,
Joe Finger,
Joensuu 1685,
Khruangbin,
Magazine,
EPMD,
Robert Wyatt,
48th St. Collective,
Swans,
Alison Limerick,
JFA,
Crash Course in Science,
Curtis Mayfield,
The Fire Engines,
The Flesh Eaters,
The Remains,
FM Einheit,
Larry & the Blue Notes,
Pharoah Sanders,
cv313,
David McCallum,
Jeff Lynne,
Colin Newman,
Scrapy,
This Heat,
Saccharine Trust,
MC5,
Radio Birdman,
Ultravox,
The Angels of Light,
Richard Hell and the Voidoids,
The Walker Brothers,
Nirvana,
Harpers Bizarre,
Scott Walker,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.