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 Algeria and from Winnipeg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Lille 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 oboe 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 Kaleidoscope to the disco kids.
I played it at Trash.
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 Slave. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Kenny Larkin,
Oblivians,
Ohio Players,
Pussy Galore,
Roy Ayers Ubiquity,
Moebius,
The Busters,
Chris & Cosey,
Fear,
Y Pants,
The Remains,
Ten City,
Todd Rundgren,
Grandmaster Flash and the Furious Five,
K-Klass,
Quando Quango,
The Skatalites,
Accadde A,
Das Ding,
Crispian St. Peters,
Heavy D & The Boyz,
John Holt,
Underground Resistance,
The Slackers,
Altered Images,
Qualms,
Boogie Down Productions,
Barry Ungar,
Niagra,
Audionom,
Quadrant,
Rapeman,
Intrusion,
Japan,
Reagan Youth,
Slave,
The Move,
Kurtis Blow,
Cymande,
These Immortal Souls,
Lee Hazlewood,
Ronan,
The Toasters,
The Red Krayola,
Avey Tare & Kría Brekkan,
Technova,
Sunsets and Hearts,
Tomorrow,
Harry Pussy,
Scientists,
The Detroit Cobras,
Dennis Brown,
Radio Birdman,
Little Man,
Cal Tjader,
New York Dolls,
Junior Murvin,
Wighnomy Brothers & Robag Wruhme,
Archie Shepp,
ABBA,
Alice Coltrane,
The Peanut Butter Conspiracy,
Sandy B, Sandy B, Sandy B, Sandy B.
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.