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 Uganda and from Winnipeg.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Rod Modell to the electroclash 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 Faust. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Con Funk Shun,
Bobbi Humphrey,
Eddi Front,
Avey Tare's Slasher Flicks,
Main Source,
The West Coast Pop Art Experimental Band,
The Cramps,
Camberwell Now,
Khruangbin,
Terrestrial Tones,
Quantec,
Curtis Mayfield,
Pole,
Ken Boothe,
Sun Ra,
Judy Mowatt,
Pharoah Sanders,
Donny Hathaway,
Lou Reed,
Magma,
Ultramagnetic MC's,
Ponytail,
Radiopuhelimet,
Siouxsie and the Banshees,
Reuben Wilson,
The Smoke,
Crash Course in Science,
Unrelated Segments,
Gang of Four,
The Sisters of Mercy,
Visionaries,LMNO, T- Love & Iriscience,
The Selecter,
Y Pants,
Alton Ellis,
The Litter,
The Saints,
Kurtis Blow,
Rowland S Howard / Lydia Lunch,
Nation of Ulysses,
Kas Product,
The Flesh Eaters,
Skriet,
Mary Jane Girls,
Boredoms,
Jeff Lynne,
Peter & Gordon,
Wolf Eyes,
the Soft Cell,
Scion,
Rekid,
The Monochrome Set,
The Pop Group,
Sight & Sound,
Todd Rundgren,
In Retrospect,
L. Decosne,
Model 500,
Make Up,
Funkadelic,
Silicon Teens,
Altered Images,
Surgeon,
Scientists,
Easy Going, Easy Going, Easy Going, Easy Going.
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.