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 Halifax.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Portland.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Nirvana to the jazz 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 Con Funk Shun. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Trumans Water,
Ultravox,
The Wake,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lizzy Mercier Descloux,
Dorothy Ashby,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sarah Menescal,
Sad Lovers and Giants,
Traffic Nightmare,
Graham Central Station,
Gong,
Los Fastidios,
June Days,
FM Einheit,
The Walker Brothers,
Steve Hackett,
the Sonics,
Peter and Kerry,
Reuben Wilson,
Bluetip,
Lou Reed,
Unrelated Segments,
Ultramagnetic MC's,
John Coltrane,
Goldenarms,
John Holt,
Wolf Eyes,
Saccharine Trust,
Gil Scott-Heron and Jamie xx,
Pussy Galore,
Adolescents,
It's A Beautiful Day,
Pole,
Sandy B,
Moby Grape,
Symarip,
Big Daddy Kane,
Chris & Cosey,
Rakim,
The Offenders,
Marine Girls,
The Slackers,
Average White Band,
The Flesh Eaters,
Heaven 17,
Bobby Womack,
R.M.O.,
Niagra,
Whodini,
Flamin' Groovies,
Johnny Clarke,
Pantytec,
Michelle Simonal,
The Mighty Diamonds,
The Fortunes,
Public Enemy,
Gichy Dan,
The Fuzztones,
Arthur Verocai,
10cc,
Anthony Braxton,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.