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 Austria and from Portland.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Portland 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Scratch Acid to the dance 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 The Seeds. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Dennis Brown,
Don Cherry,
Vainqueur,
OOIOO,
Intrusion,
The Searchers,
The Fortunes,
Hot Snakes,
Joe Finger,
Neu!,
Q and Not U,
Cecil Taylor,
Vladislav Delay,
Gichy Dan,
Jeff Mills,
Bad Manners,
Spandau Ballet,
Anthony Braxton,
Aural Exciters,
Unrelated Segments,
Rhythm & Sound,
Connie Case,
Tomorrow,
The Slackers,
Heaven 17,
Babytalk,
Main Source,
Lightning Bolt,
Colin Newman,
Grauzone,
Ultramagnetic MC's,
John Cale,
Lalo Schifrin,
Audionom,
Bronski Beat,
Metal Thangz,
The Five Americans,
Ituana,
H. Thieme,
The Alarm Clocks,
Lalann,
Aswad,
Masters at Work,
Big Daddy Kane,
Soft Machine,
Nick Fraelich,
Man Parrish,
The Saints,
Black Bananas,
Scratch Acid,
Kenny Larkin,
Red Lorry Yellow Lorry,
Visage,
Nation of Ulysses,
Electric Prunes,
Ten City,
Cluster,
Pharoah Sanders,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.