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 Solomon Islands and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Lyon 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 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 Black Pus to the jazz kids.
I played it at the Astoria.
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 Kayak. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
The Raincoats,
Dorothy Ashby,
Charles Mingus,
The Misunderstood,
Gichy Dan,
Alphaville,
Spandau Ballet,
Terror Squad Feat. Camron,
Yusef Lateef,
Ronnie Foster,
Terrestrial Tones,
Bill Near,
The Names,
Pulsallama,
Brass Construction,
48th St. Collective,
Fad Gadget,
Slick Rick,
The Chocolate Watch Band,
N.O.R.E. Featuring Pharrell,
Chris Corsano,
New York Dolls,
Bauhaus,
Leonard Cohen,
Siglo XX,
The Standells,
Drive Like Jehu,
Lungfish,
Larry & the Blue Notes,
Jeff Mills,
Crispy Ambulance,
Tubeway Army,
Faust,
Bootsy Collins,
The Durutti Column,
Porter Ricks,
The Detroit Cobras,
Strawberry Alarm Clock,
Art Ensemble Of Chicago,
Marvin Gaye,
Kerri Chandler,
Davy DMX,
Sister Nancy,
Soul II Soul,
Electric Prunes,
JFA,
Jesper Dahlback,
Interpol,
Aaron Thompson,
Sexual Harrassment,
Cal Tjader,
Mary Jane Girls,
The Barracudas,
Jawbox,
Ultramagnetic MC's,
Gary Puckett & The Union Gap,
T.S.O.L.,
Don Cherry,
Mars,
Bobby Byrd,
Sparks,
Ten City, Ten City, Ten City, Ten City.
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.