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 Zambia and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Salvador and Glasgow.
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 Art of Noise practice in a loft in London.
I was working on the güiro 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 ABBA to the rap 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 Searchers. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Bang on a Can All-Stars 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
The Fall,
The Cramps,
The Happenings,
Eden Ahbez,
Ornette Coleman,
Thee Headcoats,
Shuggie Otis,
Monks,
Traffic Nightmare,
the Swans,
Derrick May,
The Index,
Chrome,
Tubeway Army,
Ash Ra Tempel,
Y Pants,
Grandmaster Flash and the Furious Five,
Vladislav Delay,
The Divine Comedy,
Lindisfarne,
Lucky Dragons,
The Red Krayola,
The Seeds,
The West Coast Pop Art Experimental Band,
Derrick Morgan,
Mo-Dettes,
L. Decosne,
Wasted Youth,
Amon Düül,
X-102,
Drexciya,
Bobbi Humphrey,
Das Ding,
The Associates,
T.S.O.L.,
Jeff Mills,
Television,
Accadde A,
B.T. Express,
Dr. Dre and Snoop Doggy Dog,
Severed Heads,
Silicon Teens,
John Foxx,
Echo & the Bunnymen,
Public Image Ltd.,
Radio Birdman,
Tomorrow,
LL Cool J,
Avey Tare's Slasher Flicks,
Gil Scott-Heron and Jamie xx,
Radiohead,
Scott Walker,
The Cowsills,
Godley & Creme,
Fatback Band,
Crash Course in Science,
Khruangbin,
Darondo,
New Age Steppers,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.