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 Uruguay and from Spokane.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Woodstock 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 808 sounds with much patience.
I was there when Lou Reed 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 Barbara Tucker to the funk kids.
I played it at the Astoria.
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 Evens. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Nik Kershaw 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Average White Band,
Magazine,
Notorious Big And Bone Thugs,
Yusef Lateef,
Joyce Sims,
Pete Rock & C.L. Smooth,
Davy DMX,
Kerrie Biddell,
A Certain Ratio,
Electric Light Orchestra,
Man Parrish,
Yazoo,
Quantec,
Sixth Finger,
Mantronix,
John Coltrane,
Hashim,
Bobby Sherman,
Barry Ungar,
Dennis Brown,
Eli Mardock,
The Monks,
Terrestrial Tones,
Pet Shop Boys,
Wire,
Jacques Brel,
Vladislav Delay,
Tres Demented,
Grey Daturas,
Clear Light,
E-Dancer,
Eve St. Jones,
Kurtis Blow,
Joe Finger,
Althea and Donna,
Easy Going,
Arab on Radar,
June of 44,
The Move,
X-101,
Terror Squad Feat. Camron,
Liliput,
Bobby Byrd,
Bronski Beat,
Connie Case,
Gil Scott-Heron & Brian Jackson,
Gastr Del Sol,
Little Man,
Agent Orange,
H. Thieme,
Rekid,
Tubeway Army,
Manfred Mann's Earth Band,
F. McDonald,
The Remains,
Kango’s Stein Massive,
Darondo,
Ralphi Rosario,
Jeff Mills,
Soul II Soul,
Fear, Fear, Fear, Fear.
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.