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 Nicaragua and from Portland.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Lille 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare 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 Vladislav Delay to the electroclash 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 Ajijia Myrayebe. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba 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 Monochrome Set,
Red Lorry Yellow Lorry,
Jimmy McGriff,
The Remains,
the Germs,
The Kinks,
Accadde A,
The Martian,
Dual Sessions,
The Stooges,
Yaz,
The Alarm Clocks,
Masters at Work,
The American Breed,
Robert Görl,
Art Ensemble Of Chicago,
Darondo,
Black Pus,
Tears for Fears,
Avey Tare's Slasher Flicks,
Bad Manners,
Fort Wilson Riot,
Stetsasonic,
Yusef Lateef,
Black Flag,
Aural Exciters,
Funky Four + One,
the Human League,
Sam Rivers,
The Skatalites,
Boogie Down Productions,
Lou Reed & John Cale,
Quadrant,
David Axelrod,
The Chocolate Watch Band,
The Offenders,
Barrington Levy,
Gang Green,
Matthew Bourne,
Kevin Saunderson,
Lou Christie,
The Cosmic Jokers,
Radiohead,
Marmalade,
Glenn Branca,
Connie Case,
Royal Trux,
Ultramagnetic MC's,
Sister Nancy,
Major Organ And The Adding Machine,
Sad Lovers and Giants,
OOIOO,
Lee Hazlewood,
Ossler,
Jeff Mills,
The Slits,
The Techniques,
U.S. Maple,
Röyhkä ja Rättö ja Lehtisalo,
Kas Product,
Brand Nubian,
Johnny Clarke,
Man Eating Sloth,
The Gories,
ABBA, ABBA, ABBA, ABBA.
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.