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 Fiji and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1979.
I'm losing my edge.
To all the kids in Manila and Portland.
I'm losing my edge to the art-school Toronto 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 rhodes 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 Franke to the rock 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 Traffic Nightmare. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal jazz 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 a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Bill Near,
The Martian,
Sugar Minott,
Morten Harket,
Audionom,
Zero Boys,
Roy Ayers Ubiquity,
The Gap Band,
Bootsy's Rubber Band,
Chrome,
Eric Copeland,
Hoover,
Vaughan Mason & Crew,
Eden Ahbez,
Pere Ubu,
Cameo,
Manfred Mann's Earth Band,
Sällskapet,
Absolute Body Control,
Gary Puckett & The Union Gap,
Gil Scott Heron,
Slave,
Sandy B,
Aaron Thompson,
DJ Style,
Skriet,
Black Sheep,
Spoonie Gee,
The Last Poets,
Glenn Branca,
A Certain Ratio,
Lakeside,
The Mummies,
Gil Scott-Heron and Jamie xx,
Schoolly D,
Avey Tare's Slasher Flicks,
The Grass Roots,
Eve St. Jones,
Severed Heads,
The American Breed,
Masters at Work,
Country Joe & The Fish,
R.M.O.,
X-102,
Marc Romboy vs. Booka Shade,
Groovy Waters,
The Electric Prunes,
Robert Hood,
Jawbox,
Sight & Sound,
Warren Ellis,
Funky Four + One,
In Retrospect,
Lafayette Afro Rock Band,
Fort Wilson Riot,
Deepchord,
Ludus,
T. Rex,
Gil Scott-Heron & Brian Jackson,
The Pretty Things,
Cluster, Cluster, Cluster, Cluster.
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.