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 Lesotho and from Spokane.
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 1963 to 1975.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Salvador 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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Marine Girls to the funk 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 Sad Lovers and Giants. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Lou Reed & Metallica,
Joensuu 1685,
Wolf Eyes,
Drive Like Jehu,
Big Daddy Kane,
Oblivians,
Schoolly D,
Ultravox,
The Peanut Butter Conspiracy,
Lee Hazlewood,
Sarah Menescal,
Bang On A Can,
Barry Ungar,
Kings Of Tomorrow,
Bobby Hutcherson,
Saccharine Trust,
The Mummies,
Grauzone,
The Victims,
Supertramp,
Gong,
Cabaret Voltaire,
Camouflage,
Japan,
Country Joe & The Fish,
Lebanon Hanover,
Crispy Ambulance,
Gang of Four,
Terrestrial Tones,
Thee Headcoats,
The Cure,
Toni Rubio,
Delon & Dalcan,
It's A Beautiful Day,
Hashim,
Andrew Ashong & Theo Parrish,
The Techniques,
Janne Schatter,
Banda Bassotti,
Bill Near,
Andrew Hill,
Prince Buster,
Art Ensemble Of Chicago,
Soul II Soul,
June of 44,
Underground Resistance,
The Jesus and Mary Chain,
Be Bop Deluxe,
EPMD,
Gang Green,
Archie Shepp,
Major Organ And The Adding Machine,
Red Lorry Yellow Lorry,
Jeff Mills,
Albert Ayler,
Scrapy,
Infiniti,
Fugazi,
Jandek,
The Velvet Underground,
AZ,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.