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 Estonia and from Delhi.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Woodstock.
I'm losing my edge to the art-school Portland 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 Slick Rick to the grunge kids.
I played it at Trash.
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 Drexciya. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Wasted Youth record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Pantaleimon,
Erasure,
K-Klass,
Ultimate Spinach,
Nation of Ulysses,
Todd Rundgren,
The Mojo Men,
Sunsets and Hearts,
Dual Sessions,
Joe Finger,
The Slackers,
Orchestral Manoeuvres in the Dark,
Toni Rubio,
Black Flag,
Gil Scott-Heron & Brian Jackson,
Alison Limerick,
The Real Kids,
Susan Cadogan,
In Retrospect,
Magazine,
The Pop Group,
Siouxsie and the Banshees,
Maleditus Sound,
Ituana,
Deakin,
Quando Quango,
Bronski Beat,
Khruangbin,
Lalann,
Dorothy Ashby,
The Flesh Eaters,
Reuben Wilson,
De La Soul & Jungle Brothers,
the Germs,
Malaria!,
Saccharine Trust,
48th St. Collective,
Lindisfarne,
Fela Kuti,
Harmonia,
Section 25,
The Seeds,
Traffic Nightmare,
Intrusion,
Los Fastidios,
Delon & Dalcan,
Blossom Toes,
Bob Dylan,
Crime,
F. McDonald,
Vainqueur,
Derrick May,
The Men They Couldn't Hang,
The Monochrome Set,
Sarah Menescal,
Big Daddy Kane,
Roxette,
Siglo XX,
Archie Shepp,
Bang On A Can,
Judy Mowatt,
Guru Guru,
the Normal,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.