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 Moldova and from Tokyo.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Bologna.
I'm losing my edge to the art-school New York 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 1976 at the first Chic practice in a loft in New York.
I was working on the theremin 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 Soft Machine to the disco kids.
I played it at Cafe Wha.
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 Robert Görl. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
The Young Rascals,
Wire,
The Move,
Charles Mingus,
Hot Snakes,
Sound Behaviour,
Joyce Sims,
Avey Tare & Kría Brekkan,
Bang on a Can All-Stars,
Adolescents,
New York Dolls,
Mandrill,
The Victims,
Lou Christie,
The Fall,
Yazoo,
Lakeside,
Fluxion,
Funky Four + One,
the Swans,
Sugar Minott,
Infiniti,
Judy Mowatt,
Gregory Isaacs,
The Human League,
London Community Gospel Choir,
Ponytail,
Kool Moe Dee,
Archie Shepp,
John Cale,
Sun Ra Arkestra,
Nation of Ulysses,
The Royal Family And The Poor,
Sly & The Family Stone,
Cymande,
Arthur Verocai,
Mo-Dettes,
Pere Ubu,
Simply Red,
ABBA,
The Electric Prunes,
The Mummies,
X-101,
Hardrive,
Wings,
Sun Ra,
Scion,
Nico,
Lucky Dragons,
Kerrie Biddell,
Chrome,
Rapeman,
Black Moon,
The Detroit Cobras,
The Monochrome Set,
The Happenings,
The Doobie Brothers,
John Holt,
John Lydon,
Marvin Gaye,
Little Man,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.