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 India and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Beijing.
I'm losing my edge to the art-school Stockholm 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 arpeggiator 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 Accadde A to the disco kids.
I played it at the Roxy.
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 Association. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
The American Breed,
T. Rex,
Jesper Dahlback,
Amazonics,
Mandrill,
Joyce Sims,
The Associates,
Surgeon,
Ken Boothe,
Echo & the Bunnymen,
Leonard Cohen,
Animal Collective,
Peter and Kerry,
the Normal,
Lizzy Mercier Descloux,
Y Pants,
Bizarre Inc.,
Harpers Bizarre,
Brothers Johnson,
Rekid,
Ultimate Spinach,
Soft Cell,
The Toasters,
the Slits,
Graham Central Station,
Jeru the Damaja,
La Düsseldorf,
the Bar-Kays,
the Association,
Ralphi Rosario,
Sun City Girls,
Roxy Music,
Smog,
World's Most,
Crash Course in Science,
Fifty Foot Hose,
Loose Ends,
Wighnomy Brothers & Robag Wruhme,
Porter Ricks,
PIL,
Man Parrish,
The Doors,
L. Decosne,
Isaac Hayes,
Hot Snakes,
The Names,
Hashim,
Magazine,
Cluster,
Archie Shepp,
This Heat,
Jesper Dahlbäck,
The Golliwogs,
Cymande,
Talk Talk,
Pole,
John Coltrane,
The Star Department,
Todd Terry,
FM Einheit,
Joe Finger,
These Immortal Souls,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.