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 Peru and from Toronto.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Tehran and Seoul.
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 oboe 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 Ornette Coleman to the techno 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 The Real Kids. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
E-Dancer,
Avey Tare & Kría Brekkan,
Slick Rick,
Con Funk Shun,
Gong,
B.T. Express,
The Sisters of Mercy,
Half Japanese,
AZ,
Youth Brigade,
Deepchord,
Radio Birdman,
T.S.O.L.,
Sarah Menescal,
Intrusion,
Rod Modell,
Icehouse,
Soft Cell,
Stetsasonic,
Soul II Soul,
Sixth Finger,
Art Ensemble Of Chicago,
Major Organ And The Adding Machine,
Smog,
Kango’s Stein Massive,
The Dead C,
DNA,
Bluetip,
Lindisfarne,
Funky Four + One,
Ornette Coleman,
David Bowie,
Carl Craig,
Wasted Youth,
Sällskapet,
Rekid,
Ajijia Myrayebe,
Y Pants,
Das Ding,
De La Soul & Jungle Brothers,
Basic Channel,
Deutsch Amerikanische Freundschaft,
Bootsy's Rubber Band,
Jerry Gold Smith,
Blake Baxter,
Pierre Henry,
Gregory Isaacs,
Moss Icon,
The Sound,
OOIOO,
Tommy Roe,
Justin Hinds & The Dominoes,
Joyce Sims,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Shuggie Otis,
Frankie Knuckles,
The Invisible,
Yusef Lateef,
The Dirtbombs,
the Human League,
Supertramp, Supertramp, Supertramp, Supertramp.
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.