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 Iraq and from Taipei.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school London 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 rhodes 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 Cluster to the jazz kids.
I played it at the Roxy.
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 the Germs. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Peter Gordon & Love of Life Orchestra,
a-ha,
Scan 7,
Jerry's Kids,
Amazonics,
Mission of Burma,
Ken Boothe,
Cluster,
Stiv Bators,
Kool Moe Dee,
Kurtis Blow,
Larry & the Blue Notes,
Flamin' Groovies,
Art Ensemble Of Chicago,
The Mojo Men,
Barrington Levy,
Terrestrial Tones,
Kauko Röyhkä ja Narttu,
Sexual Harrassment,
The Grass Roots,
Television,
Ash Ra Tempel,
Public Image Ltd.,
Bang On A Can,
Sight & Sound,
The Litter,
Cecil Taylor,
Oppenheimer Analysis,
Procol Harum,
Lizzy Mercier Descloux,
Stetsasonic,
Siouxsie and the Banshees,
The Divine Comedy,
Pantaleimon,
Main Source,
Barry Ungar,
Excepter,
Skarface,
Isaac Hayes,
Pharoah Sanders,
Man Eating Sloth,
The Names,
The Golliwogs,
Hoover,
The Toasters,
Barclay James Harvest,
Donald Byrd,
Chris Corsano,
Joe Smooth,
Colin Newman,
Q and Not U,
Country Teasers,
The Fuzztones,
The Doobie Brothers,
Beasts of Bourbon,
Faraquet,
Audionom,
The Slits,
Kas Product,
The United States of America, The United States of America, The United States of America, The United States of America.
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.