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 United States and from New York.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Seoul and Bremen.
I'm losing my edge to the art-school Manchester 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 at the first Suicide practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Bootsy's Rubber Band to the disco kids.
I played it at Trash.
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 Blake Baxter. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Interpol 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 '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground 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?
Avey Tare & Kría Brekkan,
Moby Grape,
Sun City Girls,
the Germs,
Radiohead,
In Retrospect,
Sparks,
The Doobie Brothers,
The Vogues,
Sixth Finger,
Dorothy Ashby,
D'Angelo,
U.S. Maple,
8 Eyed Spy,
Janne Schatter,
Kurtis Blow,
Todd Terry,
Skaos,
Ludus,
Cluster,
the Normal,
The Beau Brummels,
Wasted Youth,
Sun Ra Arkestra,
Lalann,
Echospace,
Sound Behaviour,
Nico,
Audionom,
The Martian,
Sonny Sharrock,
Neil Young & Crazy Horse,
Bang On A Can,
The Techniques,
Gang Green,
The Birthday Party,
Ultimate Spinach,
Gil Scott-Heron and Jamie xx,
Jeff Lynne,
Clear Light,
Suburban Knight,
FM Einheit,
Terry Callier,
The Cosmic Jokers,
Connie Case,
Faraquet,
Teenage Jesus and the Jerks,
The Move,
Lucky Dragons,
Crooked Eye,
Hot Snakes,
Bush Tetras,
Lower 48,
DJ Sneak,
The Dirtbombs,
Alison Limerick,
Quantec,
Jimmy McGriff,
Sam Rivers,
Tres Demented,
Pierre Henry,
The Sound, The Sound, The Sound, The Sound.
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.