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 Netherlands and from Bremen.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Visage to the electroclash 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 Marvin Gaye. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
FM Einheit,
Fluxion,
Bobby Womack,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ituana,
Gang Gang Dance,
Glambeats Corp.,
Flash Fearless,
Yaz,
New York Dolls,
The Birthday Party,
Cluster,
Public Image Ltd.,
Junior Murvin,
Matthew Bourne,
Faraquet,
Jesper Dahlbäck,
The Litter,
Oppenheimer Analysis,
Donny Hathaway,
World's Most,
Roxette,
Bill Wells,
Ralphi Rosario,
Thompson Twins,
Bobby Byrd,
Rakim,
Mark Hollis,
The Vogues,
Avey Tare & Kría Brekkan,
Richard Hell and the Voidoids,
Matthew Halsall,
Severed Heads,
Rekid,
Excepter,
Fear,
Siglo XX,
Nico,
Gichy Dan,
Kas Product,
Sugar Minott,
Lizzy Mercier Descloux,
Main Source,
Neu!,
Mission of Burma,
Colin Newman,
Frankie Knuckles,
Erykah Badu,
Ponytail,
The United States of America,
Alice Coltrane,
KRS-One,
Super Lover Cee & Casanova Rud,
Eve St. Jones,
Khruangbin,
Funkadelic,
Icehouse,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.