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 Sudan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Copenhagen 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 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 Tomorrow to the grunge kids.
I played it at the Crocodile.
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 Jacob Miller. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Avey Tare & Kría Brekkan,
The Kinks,
Qualms,
Make Up,
Bootsy's Rubber Band,
Captain Beefheart & His Magic Band,
Robert Hood,
the Association,
X-Ray Spex,
The Velvet Underground,
Slave,
Hasil Adkins,
The Gun Club,
Radiohead,
Urselle,
The West Coast Pop Art Experimental Band,
Ponytail,
Cymande,
Scrapy,
Motorama,
Dorothy Ashby,
Magazine,
Glenn Branca,
Soul II Soul,
Eric Dolphy,
Schoolly D,
Suicide,
Mary Jane Girls,
Bang on a Can All-Stars,
Jesper Dahlback,
Joe Finger,
The Pop Group,
Cal Tjader,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bob Dylan,
Derrick Morgan,
Alton Ellis,
Nick Cave & The Bad Seeds,
The Seeds,
Nation of Ulysses,
Girls At Our Best!,
Grey Daturas,
Monolake,
Television,
Stiv Bators,
Barbara Tucker,
The Gap Band,
Man Eating Sloth,
The Motions,
Kurtis Blow,
Skriet,
Eyeless In Gaza,
Traffic Nightmare,
Rapeman,
The Sound,
Crooked Eye,
Lakeside,
Zero Boys,
Althea and Donna,
Interpol,
The Busters, The Busters, The Busters, The Busters.
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.