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 Cape Verde and from Mumbai.
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 1968 to 1977.
I'm losing my edge.
To all the kids in London and Johannesburg.
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 harpsichord 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 Bobby Sherman to the rap kids.
I played it at the Roxy.
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 Dawn Penn. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Urselle 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Hot Snakes,
Siglo XX,
Television,
Swell Maps,
Camron Feat. Jay Z And Juelz,
Avey Tare,
Harpers Bizarre,
Kurtis Blow,
Heaven 17,
Andrew Ashong & Theo Parrish,
Ralphi Rosario,
The Knickerbockers,
Saccharine Trust,
The Selecter,
R.M.O.,
T. Rex,
The Remains,
Nation of Ulysses,
The Evens,
Wire,
James Chance & The Contortions,
Ornette Coleman,
The Index,
Bad Manners,
Rosa Yemen,
Aswad,
Aloha Tigers,
Pharoah Sanders,
Howard Jones,
The Cure,
The Young Rascals,
The Residents,
Johnny Osbourne,
Moebius,
Arab on Radar,
Kauko Röyhkä ja Narttu,
Procol Harum,
Desert Stars,
Art Ensemble Of Chicago,
Jeff Lynne,
The Star Department,
Pete Rock & C.L. Smooth,
Amon Düül,
Lou Reed & John Cale,
Bang on a Can All-Stars,
The Buckinghams,
the Soft Cell,
Kings Of Tomorrow,
Von Mondo,
Cybotron,
Flash Fearless,
a-ha,
China Crisis,
Cheater Slicks,
Panda Bear,
Yazoo,
Suburban Knight,
Blossom Toes,
Accadde A,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.