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 Bahamas and from Mumbai.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Beijing 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 synthesizer 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 Shuggie Otis to the punk kids.
I played it at Cafe Wha.
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 Jerry Gold Smith. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Brick,
Sällskapet,
Cal Tjader,
The Beau Brummels,
Radiopuhelimet,
The Names,
Connie Case,
Notorious BIG live in Amsterdam,
DeepChord presents Echospace,
Scratch Acid,
The Golliwogs,
Bang on a Can All-Stars,
Harry Pussy,
Nick Cave & The Bad Seeds,
Slick Rick,
The Toasters,
Johnny Clarke,
Guru Guru,
Steve Hackett,
The Royal Family And The Poor,
Pylon,
The Zeros,
Todd Terry,
Black Sheep,
Crispy Ambulance,
Lou Christie,
Oneida,
Magazine,
The Pop Group,
The Fugs,
Glambeats Corp.,
Neil Young,
Saccharine Trust,
The Pretty Things,
Pet Shop Boys,
The Litter,
Skriet,
Reuben Wilson,
This Heat,
Amon Düül,
U.S. Maple,
Sound Behaviour,
T. Rex,
Wire,
The Young Rascals,
the Slits,
Sex Pistols,
Faraquet,
Prince Buster,
Morten Harket,
X-Ray Spex,
kango's stein massive,
AZ,
Dawn Penn,
DJ Style,
Super Lover Cee & Casanova Rud,
Drexciya,
Terry Callier,
Michelle Simonal,
Delon & Dalcan,
Outsiders,
Harmonia,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.