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 Guyana and from Seoul.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Spokane and Milan.
I'm losing my edge to the art-school Bologna 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Move to the rock 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 Underground Resistance. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Godley & Creme 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Yellowson,
Qualms,
Andrew Ashong & Theo Parrish,
Malaria!,
the Bar-Kays,
Ohio Players,
New Age Steppers,
Ultravox,
Oppenheimer Analysis,
Danielle Patucci,
Wire,
the Human League,
Sugar Minott,
Godley & Creme,
Moebius,
Freddie Wadling,
A Flock of Seagulls,
This Heat,
Grandmaster Flash and the Furious Five,
Soft Machine,
Lyres,
Marvin Gaye,
Letta Mbulu,
T. Rex,
Darondo,
Icehouse,
Jeff Lynne,
The Tremeloes,
Buzzcocks,
Rakim,
Neil Young & Crazy Horse,
MDC,
Pantytec,
Minutemen,
Sound Behaviour,
David Bowie,
Joey Negro,
Janne Schatter,
Lou Christie,
The Litter,
Dorothy Ashby,
Harry Pussy,
Al Stewart,
The Golliwogs,
D'Angelo,
The Pretty Things,
Avey Tare & Kría Brekkan,
Eli Mardock,
Interpol,
The Index,
Pharaoh Sanders and the Fire Engines,
Lebanon Hanover,
The Velvet Underground,
Chris & Cosey,
Television Personalities,
Stereo Dub,
Peter Gordon & Love of Life Orchestra,
The Doors,
the Normal,
Derrick Morgan,
Anthony Braxton,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.