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 Singapore and from Beijing.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Columbus 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 The Beau Brummels to the techno kids.
I played it at the Troubador.
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 Roxette. All the underground hits.
All UT tracks. I heard you have a vinyl of every Circle Jerks 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 '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Electric Light Orchestra,
Heavy D & The Boyz,
Cymande,
The Fortunes,
Peter & Gordon,
Gary Puckett & The Union Gap,
Reagan Youth,
Ash Ra Tempel,
Fluxion,
ABC,
Johnny Clarke,
Sun Ra Arkestra,
Richard Hell and the Voidoids,
Fad Gadget,
Japan,
Lightning Bolt,
Nation of Ulysses,
Scott Walker,
The Fire Engines,
Freddie Wadling,
Masters at Work,
Gil Scott-Heron and Jamie xx,
Gang Green,
Pharaoh Sanders and the Fire Engines,
Siouxsie and the Banshees,
Slave,
DeepChord presents Echospace,
New York Dolls,
Kerri Chandler,
Sparks,
Barclay James Harvest,
Delta 5,
Ornette Coleman,
Newcleus,
Neu!,
Godley & Creme,
Sly & The Family Stone,
Nils Olav,
Davy DMX,
Sexual Harrassment,
Minutemen,
Von Mondo,
Graham Central Station,
Intrusion,
Marcia Griffiths,
The Trojans,
Stetsasonic,
The Residents,
June of 44,
Harry Pussy,
EPMD,
Whodini,
Rapeman,
Soft Cell,
Cybotron,
Tubeway Army,
Michelle Simonal,
Kenny Larkin,
Dark Day,
Eve St. Jones,
Rod Modell,
The Dead C, The Dead C, The Dead C, The Dead C.
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.