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 San Marino and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Lyon and Houston.
I'm losing my edge to the art-school Seoul 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 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 Charles Mingus to the techno kids.
I played it at the 40 Watt.
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 Scrapy. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Cal Tjader 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Robert Hood,
Blancmange,
Urselle,
Bush Tetras,
Duran Duran,
Ituana,
The Knickerbockers,
Clear Light,
Maleditus Sound,
The Pretty Things,
Q and Not U,
Sad Lovers and Giants,
Albert Ayler,
The Index,
Intrusion,
Scientists,
Country Teasers,
Terrestrial Tones,
The Mummies,
Nick Fraelich,
Jeru the Damaja,
Technova,
Eden Ahbez,
Bob Dylan,
Blake Baxter,
MC5,
Roxy Music,
Girls At Our Best!,
Ultramagnetic MC's,
JFA,
Liaisons Dangereuses,
Soft Machine,
Schoolly D,
UT,
The Electric Prunes,
8 Eyed Spy,
Visionaries,LMNO, T- Love & Iriscience,
U.S. Maple,
The United States of America,
The Divine Comedy,
Barry Ungar,
Glenn Branca,
Harpers Bizarre,
Moss Icon,
The Slits,
Marvin Gaye,
The Flesh Eaters,
Television Personalities,
Severed Heads,
Model 500,
Pere Ubu,
Loose Ends,
Monolake,
Liliput,
The Golliwogs,
Symarip,
Popol Vuh,
Barbara Tucker,
Gil Scott Heron,
a-ha,
Nas,
Depeche Mode,
Unwound, Unwound, Unwound, Unwound.
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.