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 Kuwait and from Manila.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Sexual Harrassment to the funk 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 De La Soul & Jungle Brothers. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Bizarre Inc.,
Procol Harum,
Richard Hell and the Voidoids,
Flamin' Groovies,
Cheater Slicks,
Gerry Rafferty,
The Gap Band,
Roxy Music,
Intrusion,
Excepter,
Soul Sonic Force,
Andrew Hill,
Angels of Light & Akron/Family,
Ornette Coleman,
Notorious Big And Bone Thugs,
Negative Approach,
Public Enemy,
Ralphi Rosario,
Kas Product,
Stiv Bators,
Cabaret Voltaire,
Symarip,
The Gun Club,
Oppenheimer Analysis,
Soulsonic Force,
Dennis Brown,
The Tremeloes,
L. Decosne,
Boredoms,
The Martian,
Metal Thangz,
Thee Headcoats,
Essential Logic,
Cal Tjader,
Suburban Knight,
Albert Ayler,
John Cale,
The Slits,
Jerry Gold Smith,
Moebius,
Black Bananas,
Grandmaster Flash and the Furious Five,
June Days,
UT,
Heaven 17,
Lindisfarne,
Bootsy's Rubber Band,
Ronnie Foster,
Junior Murvin,
Basic Channel,
Crooked Eye,
Throbbing Gristle,
Hashim,
the Association,
Make Up,
Traffic Nightmare,
Strawberry Alarm Clock,
Ajijia Myrayebe,
Monolake,
Joensuu 1685,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.