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 Romania and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 Fluxion to the funk 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 Half Japanese. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Brass Construction 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your sitar and bought an organ.
I hear that you and your band have sold your organ and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Ultramagnetic MC's,
Scott Walker + Sunn O))),
Chris Corsano,
Gregory Isaacs,
The Saints,
Robert Hood,
Little Man,
Eric Copeland,
Kings Of Tomorrow,
Pere Ubu,
Jesper Dahlbäck,
Nas,
The Martian,
Rahsaan Roland Kirk,
Lou Reed,
Magazine,
Barclay James Harvest,
The Doors,
Pharaoh Sanders and the Fire Engines,
Gil Scott-Heron & Brian Jackson,
UT,
Rekid,
Flamin' Groovies,
Glenn Branca,
Eyeless In Gaza,
Audionom,
The Invisible,
Selector Dub Narcotic,
John Holt,
The New Christs,
Pharoah Sanders,
Neu!,
Marc Almond,
Bush Tetras,
Rakim,
Rufus Thomas,
Aural Exciters,
T.S.O.L.,
Dorothy Ashby,
MDC,
Smog,
the Soft Cell,
Magma,
Todd Terry,
Sound Behaviour,
The Cramps,
Iggy Pop,
Nico,
Joey Negro,
Qualms,
Ronan,
The Moleskins,
Mary Jane Girls,
Supertramp,
Bronski Beat,
Soulsonic Force,
The Angels of Light,
The Dead C,
The Skatalites,
Kurtis Blow,
New Age Steppers,
the Germs, the Germs, the Germs, the Germs.
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.