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 Tanzania and from Johannesburg.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Lille 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba 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 Man Parrish to the punk kids.
I played it at the Astoria.
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 A Flock of Seagulls. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Pharoah Sanders 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Gang Gang Dance,
Eve St. Jones,
Livin' Joy,
Jacob Miller,
Excepter,
Lafayette Afro Rock Band,
Echospace,
Pierre Henry,
the Human League,
Kaleidoscope,
Unwound,
The Smiths,
Amon Düül II,
Art Ensemble Of Chicago,
Fort Wilson Riot,
Whodini,
These Immortal Souls,
Oppenheimer Analysis,
Amon Düül,
Motorama,
Surgeon,
Stiv Bators,
Public Image Ltd.,
Scratch Acid,
Lalann,
Bang on a Can All-Stars,
Altered Images,
This Heat,
Ultravox,
The Offenders,
Heaven 17,
Dawn Penn,
The Gap Band,
Television,
Lalo Schifrin,
Teenage Jesus and the Jerks,
Swell Maps,
Bizarre Inc.,
Franke,
Bill Wells,
Crispian St. Peters,
The New Christs,
X-102,
Reagan Youth,
H. Thieme,
Robert Wyatt,
Porter Ricks,
LL Cool J,
Infiniti,
Electric Prunes,
Albert Ayler,
Soft Machine,
The Stooges,
Parry Music,
The Moody Blues,
Deakin,
Roxette,
The Detroit Cobras,
Lonnie Liston Smith,
The Leaves,
Notorious BIG live in Amsterdam,
Sexual Harrassment,
Severed Heads,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.