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 Guinea and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Salvador and Accra.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Arab on Radar to the disco 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 Anthony Braxton. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Oneida 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
The Vogues,
The Misunderstood,
Gerry Rafferty,
Arab on Radar,
Television,
The Dirtbombs,
In Retrospect,
The Alarm Clocks,
Sound Behaviour,
Porter Ricks,
Gregory Isaacs,
Michelle Simonal,
Isaac Hayes,
Underground Resistance,
8 Eyed Spy,
X-Ray Spex,
Joyce Sims,
Ossler,
Easy Going,
The Victims,
Jesper Dahlback,
Piero Umiliani,
T.S.O.L.,
Bang On A Can,
Davy DMX,
Model 500,
Aural Exciters,
Bootsy Collins,
Lafayette Afro Rock Band,
The Motions,
Main Source,
Shuggie Otis,
The New Christs,
Altered Images,
The Leaves,
This Heat,
Parry Music,
Neil Young,
David Bowie,
Pantytec,
The Fire Engines,
A Flock of Seagulls,
Jimmy McGriff,
Gastr Del Sol,
Lungfish,
The Toasters,
The Slits,
Half Japanese,
The United States of America,
Dennis Brown,
The Durutti Column,
Eden Ahbez,
Peter & Gordon,
Bobby Womack,
Bluetip,
Johnny Clarke,
Red Lorry Yellow Lorry,
The Trojans,
Public Image Ltd.,
Second Layer, Second Layer, Second Layer, Second Layer.
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.