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 Ethiopia and from Hong Kong.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin 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 The Move to the rap 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 Jacques Brel. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
The Saints,
Outsiders,
Qualms,
MC5,
Japan,
cv313,
Brick,
The Kinks,
Jacques Brel,
Flipper,
The Pop Group,
Audionom,
Davy DMX,
Reuben Wilson,
The Smoke,
Bang on a Can All-Stars,
Grandmaster Flash and the Furious Five,
The Evens,
The Electric Prunes,
Black Bananas,
Ten City,
Magazine,
June of 44,
Scott Walker + Sunn O))),
Rapeman,
Selector Dub Narcotic,
Stetsasonic,
Dawn Penn,
The Remains,
Soft Cell,
Teenage Jesus and the Jerks,
Ituana,
Fifty Foot Hose,
Interpol,
Alphaville,
Andrew Hill,
Gil Scott Heron,
Derrick May,
Eric Copeland,
Pantaleimon,
EPMD,
June Days,
Avey Tare's Slasher Flicks,
Sällskapet,
Sugar Minott,
Byron Stingily,
Rakim,
Siouxsie and the Banshees,
Model 500,
Robert Görl,
Kevin Saunderson,
World's Most,
John Cale,
Average White Band,
Minutemen,
Sparks,
Josef K,
Yusef Lateef,
Pulsallama,
Public Enemy,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.