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 Rwanda and from Toronto.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 The Smoke to the techno kids.
I played it at Cafe Wha.
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 N.O.R.E. Featuring Pharrell. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect 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?
Jesper Dahlback,
Ornette Coleman,
Lee Hazlewood,
Jacob Miller,
Bobby Sherman,
Lightning Bolt,
The Invisible,
The Barracudas,
Peter & Gordon,
Metal Thangz,
Roy Ayers Ubiquity,
Angels of Light & Akron/Family,
Robert Wyatt,
Kango’s Stein Massive,
Eric B and Rakim,
Max Romeo,
The Dave Clark Five,
the Swans,
Major Organ And The Adding Machine,
Nation of Ulysses,
The Motions,
Black Flag,
The Wake,
Fort Wilson Riot,
Hot Snakes,
Brick,
Young Marble Giants,
Laurel Aitken,
The Misunderstood,
The Peanut Butter Conspiracy,
the Normal,
The New Christs,
Radiopuhelimet,
Dr. Dre and Snoop Doggy Dog,
Drexciya,
Andrew Hill,
James White and The Blacks,
Joensuu 1685,
Pussy Galore,
Gang Green,
Orchestral Manoeuvres in the Dark,
PIL,
The Kinks,
Lower 48,
The Move,
La Düsseldorf,
Steve Hackett,
Cymande,
Television,
The Fuzztones,
Agitation Free,
Tears for Fears,
Scientists,
Erykah Badu,
Animal Collective,
Average White Band,
Rhythim Is Rhythim,
Freddie Wadling,
Fear,
Grandmaster Flash and the Furious Five,
Hashim, Hashim, Hashim, Hashim.
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.