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 Uruguay and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1975.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when Michael McDonald 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 Funky Four + One to the jazz kids.
I played it at the Crocodile.
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 Peter & Gordon. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Flamin' Groovies record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
The Chocolate Watch Band,
The Residents,
Delta 5,
Dark Day,
Pharaoh Sanders and the Fire Engines,
The Mummies,
David McCallum,
Bobby Byrd,
Ten City,
The Index,
Porter Ricks,
The Blues Magoos,
Siglo XX,
Swell Maps,
The Young Rascals,
Super Lover Cee & Casanova Rud,
Dr. Dre and Snoop Doggy Dog,
The Last Poets,
La Düsseldorf,
Hasil Adkins,
Groovy Waters,
Alton Ellis,
Fad Gadget,
U.S. Maple,
ABBA,
Lebanon Hanover,
Crash Course in Science,
Little Man,
Bauhaus,
Main Source,
Bang on a Can All-Stars,
Tropical Tobacco,
Tim Buckley,
The Busters,
Sticky Fingaz feat. Raekwon,
Moss Icon,
The Stooges,
The Invisible,
Drive Like Jehu,
Man Parrish,
Faust,
Mad Mike,
The Toasters,
T. Rex,
Fugazi,
The J.B.'s,
the Bar-Kays,
Khruangbin,
Liliput,
Newcleus,
Sarah Menescal,
Goldenarms,
Cecil Taylor,
Pylon,
Neil Young & Crazy Horse,
Matthew Bourne,
D'Angelo,
Peter Gordon & Love of Life Orchestra,
Bizarre Inc.,
Deakin, Deakin, Deakin, Deakin.
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.