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 Swaziland and from Madrid.
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 1977.
I'm losing my edge.
To all the kids in Manila and Cairo.
I'm losing my edge to the art-school Taipei 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Eric B and Rakim to the disco kids.
I played it at Trash.
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 Bobby Byrd. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Barbara Tucker 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 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 Flesh Eaters,
Derrick Morgan,
Gong,
Wolf Eyes,
Notorious BIG live in Amsterdam,
Adolescents,
Masters at Work,
Terry Callier,
The Doobie Brothers,
The Mighty Diamonds,
Arthur Verocai,
Gichy Dan,
Freddie Wadling,
Matthew Bourne,
Bluetip,
Qualms,
James Chance & The Contortions,
James White and The Blacks,
Motorama,
The Selecter,
Absolute Body Control,
Kenny Larkin,
Faraquet,
Soulsonic Force,
Ossler,
Ohio Players,
Agitation Free,
Shuggie Otis,
The Sound,
Isaac Hayes,
Spandau Ballet,
Supertramp,
The Dirtbombs,
Lou Christie,
The Tremeloes,
Siouxsie and the Banshees,
Man Parrish,
The Gories,
Jandek,
June Days,
Neil Young,
Crime,
Heavy D & The Boyz,
The Associates,
Avey Tare's Slasher Flicks,
E-Dancer,
Cal Tjader,
The Residents,
Drive Like Jehu,
Todd Terry,
The United States of America,
Kauko Röyhkä ja Narttu,
Newcleus,
Todd Rundgren,
Siglo XX,
Monks,
The Zeros,
U.S. Maple,
Traffic Nightmare,
the Germs,
T. Rex,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.