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 Bosnia Herzegovina and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar 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 David Axelrod to the punk kids.
I played it at the 40 Watt.
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 Country Teasers. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
The Star Department,
the Soft Cell,
The West Coast Pop Art Experimental Band,
David Axelrod,
Simply Red,
Desert Stars,
Model 500,
Massinfluence,
Das Ding,
Echo & the Bunnymen,
The Index,
Can,
John Coltrane,
Jesper Dahlback,
Avey Tare,
Inner City,
The Seeds,
Manfred Mann's Earth Band,
Bootsy's Rubber Band,
The Fugs,
Eli Mardock,
H. Thieme,
Archie Shepp,
The Cosmic Jokers,
The Stooges,
Cheater Slicks,
The Moody Blues,
Faraquet,
Moebius,
Angels of Light & Akron/Family,
Jandek,
DeepChord presents Echospace,
AZ,
Juan Atkins,
The Jesus and Mary Chain,
CMW,
A Flock of Seagulls,
Tres Demented,
Nick Fraelich,
MDC,
Supertramp,
Lalo Schifrin,
Piero Umiliani,
UT,
MC5,
Frankie Knuckles,
Rufus Thomas,
DNA,
Terror Squad Feat. Camron,
Siglo XX,
48th St. Collective,
Moby Grape,
Peter & Gordon,
a-ha,
The Electric Prunes,
Gichy Dan,
New Order,
The Gap Band,
Warsaw,
Masters at Work,
Lightning Bolt,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.