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 Uruguay and from Glasgow.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Lille.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the mellotron 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 Ultra Naté to the jazz 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 Agitation Free. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
The Happenings,
Clear Light,
cv313,
Underground Resistance,
Archie Shepp,
Scion,
The Vogues,
Mars,
Donny Hathaway,
The Selecter,
Rapeman,
The Angels of Light,
The Chocolate Watch Band,
Barry Ungar,
Camberwell Now,
Visage,
Rod Modell,
Maleditus Sound,
Gil Scott-Heron & Brian Jackson,
Davy DMX,
Ohio Players,
Nick Cave & The Bad Seeds,
Joensuu 1685,
Angels of Light & Akron/Family,
Sam Rivers,
T. Rex,
Pet Shop Boys,
The Dead C,
Bad Manners,
The J.B.'s,
Circle Jerks,
James White and The Blacks,
Panda Bear,
James Chance & The Contortions,
The Residents,
Joyce Sims,
OOIOO,
Brass Construction,
Duran Duran,
Bluetip,
Organ,
Negative Approach,
Inner City,
Barrington Levy,
Kas Product,
Jerry's Kids,
Brick,
the Bar-Kays,
Ice-T,
Accadde A,
the Human League,
Faraquet,
Eric Dolphy,
Saccharine Trust,
Brand Nubian,
Morten Harket,
LL Cool J,
Funky Four + One,
The Evens,
Robert Görl,
Visionaries,LMNO, T- Love & Iriscience,
Deakin, Deakin, Deakin, Deakin.
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.