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 Ukraine 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 1969 to 1979.
I'm losing my edge.
To all the kids in Columbus and Manchester.
I'm losing my edge to the art-school Lyon 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Black Flag to the electroclash kids.
I played it at CBGB's.
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 Oppenheimer Analysis. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Popol Vuh 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Saccharine Trust,
Kaleidoscope,
Richard Hell and the Voidoids,
Outsiders,
Ralphi Rosario,
Peter & Gordon,
T. Rex,
John Cale,
Bang on a Can All-Stars,
New Order,
Ronan,
Byron Stingily,
David Axelrod,
Ultra Naté,
Little Man,
Pulsallama,
Alice Coltrane,
Tres Demented,
Kool Moe Dee,
Sonic Youth,
Bang On A Can,
Bootsy Collins,
Intrusion,
The Gun Club,
Lalo Schifrin,
Glambeats Corp.,
Grandmaster Flash and the Furious Five,
Frankie Knuckles,
The Gladiators,
Tim Buckley,
Masters at Work,
Jesper Dahlbäck,
Lou Christie,
Amazonics,
Röyhkä ja Rättö ja Lehtisalo,
Jimmy McGriff,
Oneida,
Hasil Adkins,
Kurtis Blow,
Wings,
Nirvana,
The Move,
Lou Reed & Metallica,
Gian Franco Pienzio,
The Star Department,
Strawberry Alarm Clock,
The United States of America,
Sonny Sharrock,
Stockholm Monsters,
Marine Girls,
Gastr Del Sol,
Heavy D & The Boyz,
Eric Copeland,
Kings Of Tomorrow,
Glenn Branca,
Rhythm & Sound,
Cameo,
Interpol,
Moss Icon,
The Gap Band,
Boz Scaggs,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.