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 Antigua and from Portland.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Seoul 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Busters to the punk kids.
I played it at the Troubador.
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 Throbbing Gristle. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Basic Channel,
Ludus,
Dorothy Ashby,
David McCallum,
Notorious BIG live in Amsterdam,
Skaos,
Porter Ricks,
Grandmaster Flash,
Das Ding,
Sad Lovers and Giants,
Kaleidoscope,
The Mummies,
Outsiders,
Cal Tjader,
The Doors,
Livin' Joy,
Mars,
Art Ensemble Of Chicago,
David Axelrod,
The Knickerbockers,
Suicide,
X-101,
Rekid,
John Cale,
Eric Dolphy,
The Walker Brothers,
The Buckinghams,
Gian Franco Pienzio,
Bang on a Can All-Stars,
Magma,
Niagra,
Thompson Twins,
Eric Copeland,
Quadrant,
Eddi Front,
Fear,
Electric Prunes,
Glambeats Corp.,
Derrick May,
Ossler,
Echospace,
AZ,
Essential Logic,
John Coltrane,
Scrapy,
Eyeless In Gaza,
Sunsets and Hearts,
Lou Reed,
CMW,
The Slackers,
Pagans,
Lightning Bolt,
Junior Murvin,
the Fania All-Stars,
Spoonie Gee,
Roy Ayers Ubiquity,
June of 44,
Juan Atkins,
John Holt,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.