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 San Marino and from Beijing.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Chrome to the rap 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 Supertramp. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Stetsasonic,
The Pretty Things,
Tears for Fears,
Todd Rundgren,
The Martian,
The Dirtbombs,
Stiv Bators,
Pulsallama,
The Gories,
Magma,
Darondo,
Electric Light Orchestra,
Cal Tjader,
The Toasters,
June of 44,
Gil Scott Heron,
Henry Cow,
The Smiths,
Gregory Isaacs,
Second Layer,
Johnny Osbourne,
E-Dancer,
Nils Olav,
Make Up,
Lou Christie,
Larry & the Blue Notes,
The Index,
Pussy Galore,
Kaleidoscope,
The Move,
This Heat,
Roy Ayers Ubiquity,
Los Fastidios,
OOIOO,
MDC,
Blossom Toes,
FM Einheit,
Marc Almond,
Unrelated Segments,
Aloha Tigers,
Vladislav Delay,
The Wake,
Archie Shepp,
The West Coast Pop Art Experimental Band,
Ronnie Foster,
Country Joe & The Fish,
Idris Muhammad,
Pierre Henry,
Mark Hollis,
Vainqueur,
Scion,
Subhumans,
Freddie Wadling,
Suicide,
Livin' Joy,
Royal Trux,
Wally Richardson,
Rites of Spring,
Qualms,
Robert Wyatt,
Todd Terry,
Derrick Morgan,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.