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 Bhutan and from Hong Kong.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Edmonton 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 at the first Suicide practice in a loft in New York.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Gastr Del Sol to the techno kids.
I played it at the Spitz.
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 John Cale. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Roxette 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Black Sheep,
The Index,
Aswad,
Faraquet,
Peter and Kerry,
OOIOO,
The Electric Prunes,
Country Teasers,
The Count Five,
Con Funk Shun,
Y Pants,
Albert Ayler,
Terry Callier,
Black Pus,
Sandy B,
Rod Modell,
Sunsets and Hearts,
MDC,
Deakin,
Barbara Tucker,
Soft Cell,
Roxy Music,
Electric Light Orchestra,
Ten City,
Terrestrial Tones,
Young Marble Giants,
Arab on Radar,
Barrington Levy,
The Zeros,
The Shadows of Knight,
Derrick May,
It's A Beautiful Day,
Ponytail,
Bill Wells,
the Fania All-Stars,
Danielle Patucci,
Easy Going,
Minutemen,
The Star Department,
Throbbing Gristle,
The Chocolate Watch Band,
Fear,
Radio Birdman,
Spoonie Gee,
Pulsallama,
Rufus Thomas,
Maleditus Sound,
The Toasters,
Glambeats Corp.,
Magazine,
Orchestral Manoeuvres in the Dark,
Freddie Wadling,
De La Soul & Jungle Brothers,
Laurel Aitken,
Wighnomy Brothers & Robag Wruhme,
Erykah Badu,
The Birthday Party,
Drive Like Jehu,
Amon Düül II,
Thinking Fellers Union Local 282,
Tropical Tobacco,
Clear Light,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.