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 Sweden and from London.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lille and Beijing.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 The Cramps to the techno kids.
I played it at CBGB's.
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 Ajijia Myrayebe. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
Radio Birdman,
Sly & The Family Stone,
Gong,
Camron Feat. Memphis Bleek And Beenie Seigel,
Clear Light,
The Evens,
The Zeros,
Gang Green,
Ice-T,
Soft Machine,
Yazoo,
Bluetip,
Main Source,
Man Parrish,
Fifty Foot Hose,
Black Flag,
Bobby Sherman,
Harry Pussy,
Pussy Galore,
Tim Buckley,
Little Man,
The Wake,
Subhumans,
Notorious BIG live in Amsterdam,
Art Ensemble Of Chicago,
Skaos,
Kauko Röyhkä ja Narttu,
The Sonics,
Judy Mowatt,
Joe Smooth,
Warren Ellis,
Altered Images,
Bad Manners,
Juan Atkins,
Orchestral Manoeuvres in the Dark,
Nico,
Piero Umiliani,
Peter Gordon & Love of Life Orchestra,
The Cowsills,
The Moody Blues,
MDC,
48th St. Collective,
Glambeats Corp.,
T.S.O.L.,
Andrew Ashong & Theo Parrish,
Sixth Finger,
Patti Smith,
Dorothy Ashby,
DeepChord presents Echospace,
Delon & Dalcan,
The Saints,
Marmalade,
Eve St. Jones,
Dennis Brown,
Dark Day,
CMW,
Zapp,
Sarah Menescal,
Jeff Mills,
Johnny Osbourne,
Captain Beefheart & His Magic Band,
Rakim,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.