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 Japan and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Edmonton.
I'm losing my edge to the art-school Tehran 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Interpol 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 a-ha. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Aural Exciters 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
James White and The Blacks,
Sister Nancy,
Gabor Szabo,
The Remains,
Strawberry Alarm Clock,
The Jesus and Mary Chain,
Crooked Eye,
Throbbing Gristle,
Rowland S Howard / Lydia Lunch,
June Days,
Rod Modell,
Unwound,
Khruangbin,
The Detroit Cobras,
the Normal,
Popol Vuh,
Blancmange,
DJ Sneak,
Masters at Work,
Rhythim Is Rhythim,
Ash Ra Tempel,
Stiv Bators,
AZ,
Boz Scaggs,
The Sound,
Y Pants,
T. Rex,
Buzzcocks,
Youth Brigade,
Roxette,
Black Bananas,
Tommy Roe,
China Crisis,
Marine Girls,
Soul II Soul,
The Blues Magoos,
Urselle,
H. Thieme,
Pet Shop Boys,
Todd Terry,
Pantytec,
Das Ding,
Ultra Naté,
A Certain Ratio,
Dorothy Ashby,
Nation of Ulysses,
Patti Smith,
Animal Collective,
Faust,
Flamin' Groovies,
London Community Gospel Choir,
Tubeway Army,
The Pretty Things,
Slave,
Scrapy,
Mo-Dettes,
Girls At Our Best!,
Lalo Schifrin,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.