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 Iran and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Winnipeg.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when David Bowie 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 James Chance & The Contortions to the electroclash kids.
I played it at the Astoria.
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 Fat Boys. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Ronnie Foster,
Bang on a Can All-Stars,
Livin' Joy,
Saccharine Trust,
Lebanon Hanover,
The Vogues,
Jacques Brel,
The Fuzztones,
Throbbing Gristle,
Nico,
Red Lorry Yellow Lorry,
The Sisters of Mercy,
The Standells,
Lizzy Mercier Descloux,
Joensuu 1685,
Dennis Brown,
The Royal Family And The Poor,
Notorious BIG live in Amsterdam,
Bootsy's Rubber Band,
The Doobie Brothers,
Los Fastidios,
Faraquet,
Qualms,
The Grass Roots,
Peter and Kerry,
Boredoms,
The Happenings,
Blancmange,
Symarip,
Jawbox,
Smog,
Rhythm & Sound,
Carl Craig,
Sad Lovers and Giants,
Roy Ayers Ubiquity,
Main Source,
Shoche,
Motorama,
Cecil Taylor,
DJ Style,
Andrew Ashong & Theo Parrish,
Lonnie Liston Smith,
The J.B.'s,
Rhythim Is Rhythim,
Masters at Work,
Jeff Mills,
EPMD,
Parry Music,
Oblivians,
Tropical Tobacco,
Kevin Saunderson,
Yellowson,
Roxette,
Grandmaster Flash,
June of 44,
The Mighty Diamonds,
Heavy D & The Boyz,
Nick Fraelich,
the Slits,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.