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 Czech Republic and from Portland.
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 1967 to 1970.
I'm losing my edge.
To all the kids in New York and Shanghai.
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 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 Michael McDonald 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 Kerrie Biddell to the jazz kids.
I played it at the 40 Watt.
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 Massinfluence. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
Cybotron,
Peter Gordon & Love of Life Orchestra,
Sunsets and Hearts,
Index,
Au Pairs,
a-ha,
Flamin' Groovies,
Visionaries,LMNO, T- Love & Iriscience,
Dark Day,
Sarah Menescal,
Albert Ayler,
Anakelly,
The Human League,
Dennis Brown,
The Barracudas,
Dave Gahan,
Black Pus,
Bobby Womack,
Jeff Mills,
Dawn Penn,
Marcia Griffiths,
Warsaw,
Lalann,
La Düsseldorf,
DeepChord presents Echospace,
A Certain Ratio,
Agitation Free,
Fela Kuti,
Eurythmics,
Audionom,
Goldenarms,
Rapeman,
Yazoo,
It's A Beautiful Day,
Q and Not U,
Tropical Tobacco,
Tubeway Army,
The Walker Brothers,
The Standells,
Jesper Dahlback,
Gil Scott-Heron and Jamie xx,
the Slits,
Arcadia,
Bluetip,
James Chance & The Contortions,
Gil Scott-Heron & Brian Jackson,
The Beau Brummels,
Nik Kershaw,
Major Organ And The Adding Machine,
48th St. Collective,
Graham Central Station,
Big Daddy Kane,
Jesper Dahlbäck,
Rosa Yemen,
PIL,
Radio Birdman,
Kool G Rap & DJ Polo,
The Residents,
Minutemen,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.