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 South Africa and from Hong Kong.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
I'm losing my edge to the art-school Bremen 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 Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Tommy Roe 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 Brick. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Janne Schatter,
The Blues Magoos,
Sam Rivers,
Derrick May,
The Slits,
Andrew Ashong & Theo Parrish,
Peter & Gordon,
Moss Icon,
DJ Style,
Theoretical Girls,
Shuggie Otis,
Max Romeo,
Eric B and Rakim,
Scrapy,
Sun City Girls,
D'Angelo,
Outsiders,
The West Coast Pop Art Experimental Band,
the Normal,
Mandrill,
Oppenheimer Analysis,
Visionaries,LMNO, T- Love & Iriscience,
Main Source,
Supertramp,
Roy Ayers Ubiquity,
Johnny Clarke,
The J.B.'s,
Wings,
Wolf Eyes,
Junior Murvin,
Deepchord,
Von Mondo,
Heaven 17,
The Chocolate Watch Band,
Sonny Sharrock,
John Lydon,
Bobby Hutcherson,
The Gun Club,
The Pretty Things,
Kenny Larkin,
FM Einheit,
Joensuu 1685,
Agent Orange,
Amon Düül II,
The Five Americans,
Lalann,
Jerry Gold Smith,
Bang on a Can All-Stars,
Brick,
Mars,
Sound Behaviour,
H. Thieme,
The Angels of Light,
Country Joe & The Fish,
The Durutti Column,
Funky Four + One,
Howard Jones,
Peter and Kerry,
Delta 5,
Absolute Body Control,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.