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 St Lucia and from Stockholm.
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 Columbus and Paris.
I'm losing my edge to the art-school Lagos 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Joe Finger to the disco kids.
I played it at the Roxy.
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 The Victims. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Trumans Water record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Darondo,
Neil Young & Crazy Horse,
The Associates,
Black Flag,
Franke,
Circle Jerks,
Anthony Braxton,
Alice Coltrane,
Ash Ra Tempel,
8 Eyed Spy,
Kurtis Blow,
La Düsseldorf,
The Slackers,
Barrington Levy,
The Smoke,
Pagans,
The Martian,
Pantaleimon,
Gang Starr,
Gil Scott Heron,
Nick Fraelich,
Junior Murvin,
Juan Atkins,
Stockholm Monsters,
It's A Beautiful Day,
Arab on Radar,
Jacob Miller,
Pharaoh Sanders and the Fire Engines,
Model 500,
Heavy D & The Boyz,
AZ,
Lonnie Liston Smith,
Magazine,
Cecil Taylor,
Ultimate Spinach,
Los Fastidios,
T.S.O.L.,
a-ha,
Sällskapet,
Cybotron,
Motorama,
James White and The Blacks,
Rowland S Howard / Lydia Lunch,
Half Japanese,
the Soft Cell,
Lafayette Afro Rock Band,
Simply Red,
Godley & Creme,
The Knickerbockers,
Strawberry Alarm Clock,
Joe Finger,
Erasure,
The Fall,
Soulsonic Force,
Joensuu 1685,
Q and Not U,
Severed Heads,
Jandek,
New Age Steppers,
The Chocolate Watch Band,
Dorothy Ashby,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.