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 Albania and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Stockholm 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 güiro sounds with much patience.
I was there when David Bowie 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 Freddie Wadling to the disco 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 Lonnie Liston Smith. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
The Modern Lovers,
The Fuzztones,
Easy Going,
Shuggie Otis,
Essential Logic,
One Last Wish,
Country Teasers,
Slick Rick,
Lungfish,
Gang Gang Dance,
Crispy Ambulance,
Josef K,
X-102,
The Alarm Clocks,
Black Pus,
Wings,
Throbbing Gristle,
Glambeats Corp.,
The Vogues,
Sarah Menescal,
Echospace,
Larry & the Blue Notes,
Brothers Johnson,
Public Image Ltd.,
the Slits,
DeepChord presents Echospace,
the Association,
LL Cool J,
Ken Boothe,
Bill Wells,
Reagan Youth,
Cal Tjader,
Beasts of Bourbon,
Hardrive,
The Saints,
Howard Jones,
Althea and Donna,
Agent Orange,
The Young Rascals,
Subhumans,
The Mummies,
Brick,
Model 500,
The Fugs,
Slave,
Joey Negro,
Funky Four + One,
Underground Resistance,
Faust,
Sad Lovers and Giants,
Circle Jerks,
Moby Grape,
David Axelrod,
Connie Case,
Parry Music,
Brass Construction,
T. Rex,
The Dirtbombs,
Kings Of Tomorrow,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.