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 Libya and from Sao Paulo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
I'm losing my edge to the art-school Cairo 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 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 Rosa Yemen 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 The Barracudas. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Barbara Tucker,
Ultimate Spinach,
Lee Hazlewood,
Ohio Players,
Minor Threat,
KRS-One,
Camron Feat. Jay Z And Juelz,
Ultravox,
Rotary Connection,
Lizzy Mercier Descloux,
The Stooges,
Soul II Soul,
Young Marble Giants,
Lyres,
Urselle,
Derrick May,
Lebanon Hanover,
Wolf Eyes,
Niagra,
Radiopuhelimet,
Whodini,
In Retrospect,
Duran Duran,
Dark Day,
Jacob Miller,
Japan,
Mr. Review,
Thompson Twins,
Ajijia Myrayebe,
Eric B and Rakim,
Dawn Penn,
Delta 5,
Massinfluence,
UT,
Erasure,
The Index,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tomorrow,
John Cale,
Skarface,
Stiv Bators,
Yaz,
Iggy Pop,
Faust,
Second Layer,
Flipper,
Gong,
Todd Terry,
Heavy D & The Boyz,
A Flock of Seagulls,
Youth Brigade,
The Pretty Things,
The Toasters,
Parry Music,
Aaron Thompson,
Groovy Waters,
Wally Richardson,
Rufus Thomas,
Art Ensemble Of Chicago,
Public Enemy,
Leonard Cohen,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.