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 Italy and from Cairo.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Columbus 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 A Certain Ratio to the jazz 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 Big Daddy Kane. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Jerry Gold Smith 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
Nation of Ulysses,
Davy DMX,
Public Image Ltd.,
Deadbeat,
Swell Maps,
CMW,
Bill Near,
June Days,
Roy Ayers,
Beasts of Bourbon,
The American Breed,
The Shadows of Knight,
The Peanut Butter Conspiracy,
Massinfluence,
Justin Hinds & The Dominoes,
The Buckinghams,
cv313,
Crooked Eye,
Albert Ayler,
Kayak,
Dual Sessions,
Model 500,
Mantronix,
The Gap Band,
Joensuu 1685,
Hasil Adkins,
Ultramagnetic MC's,
The Names,
The Searchers,
Sister Nancy,
Colin Newman,
Unrelated Segments,
Siouxsie and the Banshees,
Curtis Mayfield,
The Gun Club,
Faust,
Crispian St. Peters,
Pete Rock & C.L. Smooth,
Saccharine Trust,
The Modern Lovers,
Brand Nubian,
Gang of Four,
Flash Fearless,
Reagan Youth,
Bill Wells,
The Pretty Things,
Interpol,
The Happenings,
Radiopuhelimet,
Country Joe & The Fish,
Glambeats Corp.,
Todd Rundgren,
Theoretical Girls,
Blake Baxter,
Brass Construction,
Notorious BIG live in Amsterdam,
X-101,
Depeche Mode,
The Techniques,
Jimmy McGriff,
The Wake, The Wake, The Wake, The Wake.
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.