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 Mali and from Lyon.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Accra 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 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 Marmalade to the techno kids.
I played it at the 40 Watt.
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 Eli Mardock. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Pete Rock & C.L. Smooth,
The Raincoats,
Marshall Jefferson,
Vaughan Mason & Crew,
Notorious BIG live in Amsterdam,
Audionom,
The Buckinghams,
The Evens,
Darondo,
Beasts of Bourbon,
Ultramagnetic MC's,
The Victims,
Soft Cell,
Oneida,
Toni Rubio,
Minnie Riperton,
Babytalk,
Scratch Acid,
Al Stewart,
L. Decosne,
The Men They Couldn't Hang,
Deadbeat,
Liliput,
Monks,
Bobby Sherman,
Slave,
Lizzy Mercier Descloux,
Larry & the Blue Notes,
The American Breed,
The Flesh Eaters,
Eve St. Jones,
The Modern Lovers,
The Cosmic Jokers,
Chris Corsano,
Bad Manners,
Eli Mardock,
Robert Wyatt,
Boogie Down Productions,
Super Lover Cee & Casanova Rud,
Mad Mike,
the Human League,
Minor Threat,
Bobby Byrd,
Sam Rivers,
Pantaleimon,
Marine Girls,
Pulsallama,
Black Bananas,
The Sisters of Mercy,
Alton Ellis,
Rakim,
Rowland S Howard / Lydia Lunch,
Echo & the Bunnymen,
Kool Moe Dee,
Neil Young,
Deepchord,
Can,
Don Cherry,
Y Pants,
Circle Jerks,
Colin Newman,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.