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 Slovenia and from Manila.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Johannesburg 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 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 Freddie Wadling to the rap kids.
I played it at the Spitz.
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 Aswad. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Harpers Bizarre,
The Monochrome Set,
Dual Sessions,
Scion,
The Misunderstood,
The Last Poets,
Los Fastidios,
Magazine,
Minor Threat,
Fatback Band,
Pulsallama,
The Gories,
Skarface,
Neil Young,
Deadbeat,
Newcleus,
Swell Maps,
Angry Samoans,
The Golliwogs,
Nils Olav,
La Düsseldorf,
the Bar-Kays,
Sister Nancy,
Echospace,
Altered Images,
Joyce Sims,
The Pretty Things,
The Shadows of Knight,
Ultimate Spinach,
Khruangbin,
The Detroit Cobras,
Bill Near,
Quando Quango,
Morten Harket,
Dark Day,
Strawberry Alarm Clock,
Harmonia,
Gang of Four,
Blossom Toes,
Gil Scott-Heron & Brian Jackson,
David Bowie,
Bootsy Collins,
Wighnomy Brothers & Robag Wruhme,
Lee Hazlewood,
Larry & the Blue Notes,
Mantronix,
Silicon Teens,
Fela Kuti,
Sex Pistols,
Connie Case,
The Buckinghams,
Byron Stingily,
L. Decosne,
Sly & The Family Stone,
Röyhkä ja Rättö ja Lehtisalo,
Johnny Osbourne,
Bizarre Inc.,
Severed Heads,
Sarah Menescal,
Skriet,
Sun Ra Arkestra,
Country Joe & The Fish,
Scientists,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.