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 Switzerland and from Manchester.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 J.B.'s to the disco kids.
I played it at the Hacienda.
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 Ossler. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Metal Thangz 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 '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
The Five Americans,
Echo & the Bunnymen,
Bang on a Can All-Stars,
Charles Mingus,
Qualms,
Rhythim Is Rhythim,
Dead Boys,
Louis and Bebe Barron,
Dark Day,
Jawbox,
Notorious Big And Bone Thugs,
Soul Sonic Force,
Public Enemy,
Masters at Work,
Average White Band,
Technova,
Gil Scott-Heron and Jamie xx,
The Human League,
Bauhaus,
Roger Hodgson,
The Slackers,
Gong,
Das Ding,
Pagans,
John Holt,
Nation of Ulysses,
a-ha,
Whodini,
Soft Machine,
Lyres,
Smog,
FM Einheit,
Electric Prunes,
Lindisfarne,
Negative Approach,
Althea and Donna,
Godley & Creme,
Skriet,
Mary Jane Girls,
Urselle,
Ossler,
Dorothy Ashby,
Warren Ellis,
Von Mondo,
The Mummies,
Visionaries,LMNO, T- Love & Iriscience,
Gregory Isaacs,
Eddi Front,
Aural Exciters,
Faust,
Agent Orange,
the Sonics,
De La Soul & Jungle Brothers,
June of 44,
Section 25,
Y Pants,
Joyce Sims,
Black Pus,
Schoolly D,
Connie Case,
Frankie Knuckles,
Letta Mbulu,
Gabor Szabo,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.