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 Korea North and from Edmonton.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 London and Salvador.
I'm losing my edge to the art-school Bologna 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Cabaret Voltaire to the jazz 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 Electric Prunes. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Grandmaster Flash 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Fad Gadget record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Shoche,
The American Breed,
Lightning Bolt,
Young Marble Giants,
Rotary Connection,
The Grass Roots,
Louis and Bebe Barron,
Kings Of Tomorrow,
The Royal Family And The Poor,
Scion,
Skaos,
Neil Young,
Kenny Larkin,
The Leaves,
The Remains,
Masters at Work,
The Walker Brothers,
Ornette Coleman,
Tim Buckley,
Slave,
Terrestrial Tones,
Bluetip,
Soft Machine,
Nirvana,
48th St. Collective,
John Holt,
Von Mondo,
Los Fastidios,
Bill Near,
Fear,
Siouxsie and the Banshees,
Donald Byrd,
Jerry Gold Smith,
Derrick May,
Albert Ayler,
Lyres,
Tom Boy,
Index,
cv313,
Television,
The Tremeloes,
Aloha Tigers,
JFA,
The Fire Engines,
David McCallum,
L. Decosne,
Rakim,
Echo & the Bunnymen,
Fluxion,
Rhythm & Sound,
Babytalk,
Ten City,
Drive Like Jehu,
Gang Gang Dance,
Stockholm Monsters,
Eden Ahbez,
Bootsy Collins,
Marmalade,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.