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 Kosovo and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1962 to 1974.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school New York 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 güiro 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 Cybotron to the rap 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 Von Mondo. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 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 Golliwogs,
Joe Smooth,
Mr. Review,
Dead Boys,
Ajijia Myrayebe,
Todd Terry,
Cameo,
Alison Limerick,
Pylon,
The West Coast Pop Art Experimental Band,
Parry Music,
Louis and Bebe Barron,
Stereo Dub,
New Age Steppers,
Laurel Aitken,
Piero Umiliani,
Shoche,
Kayak,
Black Pus,
A Flock of Seagulls,
Thompson Twins,
Vainqueur,
Country Teasers,
The Raincoats,
Dual Sessions,
The Slackers,
China Crisis,
Scion,
Brass Construction,
Alphaville,
Ossler,
Sex Pistols,
PIL,
Slick Rick,
The Index,
Marshall Jefferson,
Gang Starr,
The Doobie Brothers,
Bootsy's Rubber Band,
Lalo Schifrin,
Roy Ayers,
Country Joe & The Fish,
Rotary Connection,
Intrusion,
Iggy Pop,
Lindisfarne,
Fela Kuti,
Con Funk Shun,
Ornette Coleman,
CMW,
The Music Machine,
Scott Walker,
Bob Dylan,
The Five Americans,
Deakin,
Flipper,
Johnny Osbourne,
Livin' Joy,
Robert Wyatt,
Manfred Mann's Earth Band,
Mad Mike,
The Sonics,
Bobby Byrd,
The Searchers,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.