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 Macedonia and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Accra and Lagos.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Heavy D & The Boyz 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 Kurtis Blow. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Warren Ellis,
Grandmaster Flash and the Furious Five,
Tomorrow,
Black Moon,
Rod Modell,
Eden Ahbez,
Wire,
Henry Cow,
Ultimate Spinach,
The Skatalites,
The Gun Club,
De La Soul & Jungle Brothers,
Altered Images,
Spandau Ballet,
Derrick May,
Lou Reed,
The Knickerbockers,
Ralphi Rosario,
Sad Lovers and Giants,
Jesper Dahlback,
Sällskapet,
Tres Demented,
The Red Krayola,
Au Pairs,
Kenny Larkin,
Kauko Röyhkä ja Narttu,
A Flock of Seagulls,
The Monks,
Lonnie Liston Smith,
Quantec,
The Men They Couldn't Hang,
Q65,
Metal Thangz,
T. Rex,
The Zeros,
Avey Tare's Slasher Flicks,
Television,
Johnny Osbourne,
Rites of Spring,
Camberwell Now,
Fluxion,
Ajijia Myrayebe,
Freddie Wadling,
Bobby Byrd,
Bootsy's Rubber Band,
X-102,
the Human League,
Fifty Foot Hose,
Nas,
These Immortal Souls,
Angels of Light & Akron/Family,
Brand Nubian,
Drexciya,
Chris & Cosey,
Curtis Mayfield,
David Axelrod,
Lee Hazlewood,
Hasil Adkins,
Rufus Thomas,
48th St. Collective,
Oppenheimer Analysis,
John Holt, John Holt, John Holt, John Holt.
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.