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 Niger and from Glasgow.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Portland 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Public Enemy to the disco kids.
I played it at CBGB's.
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 Pierre Henry. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes 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?
Rhythim Is Rhythim,
The Pretty Things,
Soul Sonic Force,
Andrew Ashong & Theo Parrish,
Alton Ellis,
Roxy Music,
Kool Moe Dee,
Nik Kershaw,
The Golliwogs,
Porter Ricks,
T. Rex,
Mars,
Pussy Galore,
The Smoke,
Sexual Harrassment,
Henry Cow,
The Doors,
Aloha Tigers,
Ash Ra Tempel,
The Fire Engines,
Danielle Patucci,
Slave,
The Knickerbockers,
Chris & Cosey,
Tom Boy,
Minutemen,
Lalann,
Bill Wells,
Fort Wilson Riot,
ABC,
Jesper Dahlbäck,
Big Daddy Kane,
The Mummies,
Terrestrial Tones,
Brick,
Bang On A Can,
Tim Buckley,
Lizzy Mercier Descloux,
The Gladiators,
Electric Light Orchestra,
Youth Brigade,
Stockholm Monsters,
Pantytec,
Ludus,
Television,
The Skatalites,
Sam Rivers,
The Chocolate Watch Band,
Lakeside,
Q and Not U,
Curtis Mayfield,
Röyhkä ja Rättö ja Lehtisalo,
Visionaries,LMNO, T- Love & Iriscience,
Chrome,
Matthew Bourne,
Pete Rock & C.L. Smooth,
Sarah Menescal,
The United States of America,
Marmalade,
Guru Guru,
New Age Steppers,
Drive Like Jehu,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.