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 Belize and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1963 to 1976.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Madrid 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 marimba sounds with much patience.
I was there when Lou Reed 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 Barclay James Harvest to the punk kids.
I played it at Trash.
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 Pulsallama. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Blancmange 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Lightning Bolt,
Chris & Cosey,
Adolescents,
New York Dolls,
Avey Tare's Slasher Flicks,
Bronski Beat,
Symarip,
Wighnomy Brothers & Robag Wruhme,
Andrew Ashong & Theo Parrish,
Interpol,
Heavy D & The Boyz,
Neil Young & Crazy Horse,
The Doors,
The Human League,
The Flesh Eaters,
Ultimate Spinach,
Notorious Big And Bone Thugs,
Peter and Kerry,
The Peanut Butter Conspiracy,
Circle Jerks,
Television,
Ludus,
Jawbox,
Pussy Galore,
Section 25,
Dorothy Ashby,
Flipper,
Kenny Larkin,
John Foxx,
Crime,
Hoover,
Niagra,
Clear Light,
48th St. Collective,
Pharoah Sanders,
Tommy Roe,
Lee Hazlewood,
The Techniques,
Don Cherry,
Roxette,
Roger Hodgson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nico,
The Young Rascals,
Negative Approach,
The Detroit Cobras,
Rhythm & Sound,
Cal Tjader,
ABC,
The Victims,
Ultravox,
Fat Boys,
Moebius,
The Beau Brummels,
Bang on a Can All-Stars,
Outsiders,
The Monks,
Kurtis Blow,
Brand Nubian,
Can,
Notorious BIG live in Amsterdam,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.