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 Lebanon and from Accra.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Gregory Isaacs to the disco kids.
I played it at the Troubador.
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 Pere Ubu. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
The Sound,
Lower 48,
Black Bananas,
The Cosmic Jokers,
Hashim,
Rowland S Howard / Lydia Lunch,
Gichy Dan,
Ohio Players,
Carl Craig,
Thinking Fellers Union Local 282,
Bootsy Collins,
The Doors,
The Fugs,
Flash Fearless,
Piero Umiliani,
Roy Ayers,
The Zeros,
Dual Sessions,
Bang On A Can,
Tropical Tobacco,
David Bowie,
Dr. Dre and Snoop Doggy Dog,
R.M.O.,
Jawbox,
Rapeman,
Outsiders,
Half Japanese,
Chris & Cosey,
Sex Pistols,
Chris Corsano,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Shadows of Knight,
Todd Rundgren,
Barbara Tucker,
Flipper,
the Soft Cell,
Selector Dub Narcotic,
Von Mondo,
Traffic Nightmare,
DeepChord presents Echospace,
Neu!,
Shuggie Otis,
Blake Baxter,
Pharoah Sanders,
Heavy D & The Boyz,
Cal Tjader,
Moss Icon,
Liaisons Dangereuses,
Girls At Our Best!,
Joy Division,
Jerry's Kids,
Index,
Black Pus,
Accadde A,
The Cure,
Delon & Dalcan,
LL Cool J,
Rhythim Is Rhythim,
Althea and Donna,
Main Source, Main Source, Main Source, Main Source.
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.