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 Norway and from Cairo.
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 1965 to 1972.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Chris & Cosey to the punk 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 Major Organ And The Adding Machine. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Brothers Johnson 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Boredoms,
Sex Pistols,
Marcia Griffiths,
Tres Demented,
L. Decosne,
Jesper Dahlbäck,
The Modern Lovers,
The Remains,
The Neon Judgement,
Barbara Tucker,
Nirvana,
Pantaleimon,
Ronan,
The Music Machine,
Oppenheimer Analysis,
Wasted Youth,
Fela Kuti,
The Fire Engines,
Lucky Dragons,
Curtis Mayfield,
The Knickerbockers,
Visage,
Pantytec,
Nik Kershaw,
Anthony Braxton,
Lebanon Hanover,
Rosa Yemen,
New York Dolls,
Eddi Front,
Maleditus Sound,
Joyce Sims,
Rhythim Is Rhythim,
Blake Baxter,
The Slits,
Deutsch Amerikanische Freundschaft,
The Divine Comedy,
Procol Harum,
Jeff Mills,
The Searchers,
Bang On A Can,
Urselle,
Whodini,
Intrusion,
Nick Fraelich,
The Gap Band,
Junior Murvin,
Johnny Osbourne,
Oblivians,
Mark Hollis,
T. Rex,
Fear,
A Certain Ratio,
Grey Daturas,
Negative Approach,
Boz Scaggs,
Joe Smooth,
Neil Young,
Drexciya,
Art Ensemble Of Chicago,
Fat Boys,
Kerri Chandler,
Radio Birdman,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.