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 Paraguay and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Accra.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Scrapy to the funk 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 Ultimate Spinach. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Albert Ayler,
Alison Limerick,
The Fugs,
UT,
Pharaoh Sanders and the Fire Engines,
Patti Smith,
Mo-Dettes,
Robert Wyatt,
The Blackbyrds,
Gian Franco Pienzio,
Symarip,
The Fuzztones,
the Human League,
Wasted Youth,
Brand Nubian,
Archie Shepp,
Black Moon,
Cameo,
Erykah Badu,
Organ,
Moby Grape,
Arcadia,
Nation of Ulysses,
The Doobie Brothers,
Gang of Four,
Maleditus Sound,
Audionom,
Toni Rubio,
Aswad,
Donald Byrd,
Little Man,
Lungfish,
Ten City,
Kas Product,
Maurizio,
Yusef Lateef,
Blossom Toes,
Fluxion,
Ultra Naté,
Hashim,
Todd Rundgren,
Visage,
Ajijia Myrayebe,
48th St. Collective,
Gerry Rafferty,
New York Dolls,
The Leaves,
James White and The Blacks,
The American Breed,
The Cosmic Jokers,
Kool Moe Dee,
Ponytail,
Louis and Bebe Barron,
Supertramp,
Grauzone,
Warren Ellis,
Terry Callier,
Tubeway Army,
Thee Headcoats,
Radiohead,
The Doors,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.