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 Chad and from Milan.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Madrid and Mexico City.
I'm losing my edge to the art-school Mexico City 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Yellowson to the funk kids.
I played it at the Troubador.
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 ABC. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Slave,
Monks,
Rhythim Is Rhythim,
Desert Stars,
The United States of America,
Aswad,
the Association,
Kevin Saunderson,
Eve St. Jones,
The Young Rascals,
Unwound,
Dr. Dre and Snoop Doggy Dog,
The Walker Brothers,
Dorothy Ashby,
Excepter,
L. Decosne,
Peter & Gordon,
The Real Kids,
Rites of Spring,
The Raincoats,
The Victims,
Art Ensemble Of Chicago,
Rufus Thomas,
Arthur Verocai,
Marc Romboy vs. Booka Shade,
Tres Demented,
The Tremeloes,
Roy Ayers,
The Velvet Underground,
Wighnomy Brothers & Robag Wruhme,
Cybotron,
Bizarre Inc.,
Von Mondo,
Babytalk,
Underground Resistance,
The American Breed,
Roxette,
Ituana,
Röyhkä ja Rättö ja Lehtisalo,
Radio Birdman,
Lungfish,
Jacques Brel,
Lalo Schifrin,
Whodini,
The Searchers,
E-Dancer,
The Pop Group,
The Seeds,
Lightning Bolt,
Guru Guru,
Second Layer,
The Move,
Red Lorry Yellow Lorry,
Chris Corsano,
Joy Division,
Scrapy,
Newcleus,
Japan,
Goldenarms,
Motorama, Motorama, Motorama, Motorama.
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.