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 Grenada and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Tehran 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 Tom Verlaine 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 Masters at Work to the dance kids.
I played it at the Hacienda.
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 Quantec. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal techno 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 a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Gun Club,
Gichy Dan,
The Sonics,
Parry Music,
Pharaoh Sanders and the Fire Engines,
Archie Shepp,
Hoover,
Nation of Ulysses,
Maurizio,
D'Angelo,
Bobby Byrd,
Jesper Dahlback,
Chris Corsano,
Selector Dub Narcotic,
48th St. Collective,
the Sonics,
Donny Hathaway,
Todd Rundgren,
The J.B.'s,
Yazoo,
Can,
Josef K,
The Barracudas,
Black Pus,
Big Daddy Kane,
Wings,
Easy Going,
L. Decosne,
China Crisis,
Ornette Coleman,
Boredoms,
Matthew Bourne,
Cal Tjader,
Radiopuhelimet,
The Sound,
John Cale,
Prince Buster,
Joey Negro,
Swans,
Colin Newman,
Yellowson,
B.T. Express,
Subhumans,
Orchestral Manoeuvres in the Dark,
Outsiders,
Guru Guru,
Franke,
Deutsch Amerikanische Freundschaft,
Byron Stingily,
Barbara Tucker,
The Offenders,
Black Flag,
Joensuu 1685,
Average White Band,
Kurtis Blow,
kango's stein massive,
Neil Young,
Popol Vuh,
Mantronix,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.