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 Slovakia and from Calgary.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Drive Like Jehu to the rap 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 Goldenarms. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Desert Stars 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Wally Richardson,
Masters at Work,
Lucky Dragons,
Kerrie Biddell,
The Slackers,
Al Stewart,
John Cale,
Brothers Johnson,
Connie Case,
The Pretty Things,
Television,
The Kinks,
Agitation Free,
Terry Callier,
The Searchers,
Major Organ And The Adding Machine,
Jeff Mills,
Leonard Cohen,
Eden Ahbez,
The Sonics,
John Lydon,
The Seeds,
The Cure,
Cheater Slicks,
The Cramps,
Second Layer,
Wasted Youth,
CMW,
Pole,
Echospace,
The Toasters,
Neu!,
The Trojans,
The Divine Comedy,
Zero Boys,
Pete Rock & C.L. Smooth,
The West Coast Pop Art Experimental Band,
Slave,
the Fania All-Stars,
the Bar-Kays,
Massinfluence,
Duran Duran,
Matthew Halsall,
Sight & Sound,
Skarface,
Kango’s Stein Massive,
The Grass Roots,
The Offenders,
Andrew Hill,
Orchestral Manoeuvres in the Dark,
Kurtis Blow,
Josef K,
Bobbi Humphrey,
The Residents,
Stetsasonic,
Organ,
Johnny Osbourne,
John Coltrane,
Arthur Verocai,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.