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 Israel and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Edmonton and London.
I'm losing my edge to the art-school Bremen 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 snare 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 JFA to the dance kids.
I played it at Cafe Wha.
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 Subhumans. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Excepter,
The Evens,
Marc Almond,
Kurtis Blow,
Ornette Coleman,
Darondo,
Grey Daturas,
These Immortal Souls,
EPMD,
Saccharine Trust,
Susan Cadogan,
The Star Department,
Model 500,
Cabaret Voltaire,
Scion,
Harmonia,
Cecil Taylor,
Heavy D & The Boyz,
Wire,
Jacques Brel,
Subhumans,
Franke,
Grandmaster Flash,
Ituana,
Camberwell Now,
Fad Gadget,
Michelle Simonal,
New Age Steppers,
Chris Corsano,
Radio Birdman,
Sticky Fingaz feat. Raekwon,
Symarip,
Panda Bear,
Section 25,
Sight & Sound,
Black Sheep,
Fugazi,
Radiohead,
Max Romeo,
Richard Hell and the Voidoids,
Goldenarms,
Sparks,
Bobby Byrd,
Red Lorry Yellow Lorry,
Neu!,
Bronski Beat,
Pharoah Sanders,
Echospace,
Unwound,
Anthony Braxton,
Eric Copeland,
The Index,
Black Flag,
Motorama,
Das Ding,
Howard Jones,
Newcleus,
Rowland S Howard / Lydia Lunch,
Glenn Branca,
Stetsasonic,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.