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 Pakistan and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 808 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 Major Organ And The Adding Machine to the electroclash kids.
I played it at the Roxy.
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 Cramps. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Yellowson 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
The Fugs,
Rekid,
Deakin,
Sun City Girls,
DJ Sneak,
the Germs,
Tom Boy,
These Immortal Souls,
Main Source,
The Monochrome Set,
Ice-T,
The Moleskins,
Hot Snakes,
The Offenders,
Connie Case,
Captain Beefheart & His Magic Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Fall,
The Red Krayola,
Curtis Mayfield,
Pierre Henry,
Avey Tare's Slasher Flicks,
Stetsasonic,
The Star Department,
Sällskapet,
Flamin' Groovies,
Easy Going,
Electric Prunes,
The Neon Judgement,
Little Man,
K-Klass,
Justin Hinds & The Dominoes,
Al Stewart,
Deadbeat,
The Doors,
Faraquet,
Bob Dylan,
The Gories,
Matthew Halsall,
Rosa Yemen,
Magazine,
The Pop Group,
Guru Guru,
Man Eating Sloth,
The Gap Band,
Ornette Coleman,
Hardrive,
Mary Jane Girls,
Lyres,
The Slackers,
The Mummies,
Zero Boys,
Soul II Soul,
Blossom Toes,
Theoretical Girls,
Nick Cave & The Bad Seeds,
Moebius,
Hashim,
a-ha,
Au Pairs,
Gerry Rafferty,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.