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 Comoros and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1978.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Richard Hell and the Voidoids to the punk 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 Dave Clark Five. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Roxy Music,
Soul II Soul,
The Residents,
The Cosmic Jokers,
Gastr Del Sol,
Alphaville,
Qualms,
Shoche,
Malaria!,
Con Funk Shun,
T.S.O.L.,
Gian Franco Pienzio,
James White and The Blacks,
Royal Trux,
Vainqueur,
Danielle Patucci,
Lee Hazlewood,
Au Pairs,
Fatback Band,
Gichy Dan,
Ronan,
Be Bop Deluxe,
Eddi Front,
Arthur Verocai,
Echo & the Bunnymen,
Crispy Ambulance,
Sarah Menescal,
Kevin Saunderson,
Pere Ubu,
Angels of Light & Akron/Family,
The Techniques,
the Association,
Agitation Free,
Flipper,
the Germs,
Babytalk,
The Royal Family And The Poor,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sandy B,
Theoretical Girls,
Boredoms,
Brand Nubian,
The Index,
Marcia Griffiths,
Ice-T,
T. Rex,
Can,
Pantytec,
Skriet,
Scratch Acid,
Unwound,
Harmonia,
Albert Ayler,
H. Thieme,
Quantec,
Black Bananas,
Main Source,
Joyce Sims,
Delon & Dalcan,
Stockholm Monsters,
the Bar-Kays,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.