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 Tokyo.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Drive Like Jehu to the jazz kids.
I played it at the Hacienda.
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 Skaos. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Kings Of Tomorrow,
Graham Central Station,
Maurizio,
EPMD,
Peter and Kerry,
Zapp,
The Associates,
Derrick May,
Scratch Acid,
Jandek,
Gong,
Siglo XX,
Niagra,
Dennis Brown,
The Names,
Ornette Coleman,
Dr. Dre and Snoop Doggy Dog,
Howard Jones,
Jesper Dahlbäck,
Josef K,
Goldenarms,
Ludus,
The Dead C,
Saccharine Trust,
Barclay James Harvest,
Royal Trux,
Lou Reed,
Marc Almond,
Davy DMX,
The Mummies,
cv313,
Darondo,
Juan Atkins,
Piero Umiliani,
Clear Light,
Cybotron,
The Detroit Cobras,
Bobby Womack,
Matthew Halsall,
Kenny Larkin,
Godley & Creme,
The Grass Roots,
Derrick Morgan,
Grandmaster Flash,
Eurythmics,
Kerrie Biddell,
The Chocolate Watch Band,
Prince Buster,
Dark Day,
Los Fastidios,
Joe Finger,
Underground Resistance,
World's Most,
Leonard Cohen,
T.S.O.L.,
Fela Kuti,
Fat Boys,
Siouxsie and the Banshees,
Sun Ra Arkestra,
The American Breed,
Joyce Sims,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.