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 Andorra and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Accra and London.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Faraquet to the disco kids.
I played it at CBGB's.
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 The Jesus and Mary Chain. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Jerry Gold Smith 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 '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Juan Atkins,
Avey Tare,
Lou Reed,
Negative Approach,
Das Ding,
Panda Bear,
Glambeats Corp.,
Rosa Yemen,
Little Man,
The Invisible,
Quando Quango,
The Sisters of Mercy,
The Buckinghams,
The Electric Prunes,
Mission of Burma,
The Last Poets,
The Zeros,
Lee Hazlewood,
Big Daddy Kane,
The Jesus and Mary Chain,
Sex Pistols,
Notorious Big And Bone Thugs,
Zero Boys,
The Angels of Light,
Scion,
Joyce Sims,
Sticky Fingaz feat. Raekwon,
Ultra Naté,
Drexciya,
The Dave Clark Five,
Pole,
Inner City,
Country Teasers,
It's A Beautiful Day,
X-102,
Tim Buckley,
AZ,
Kevin Saunderson,
Sun Ra Arkestra,
The Chocolate Watch Band,
Section 25,
T. Rex,
Sugar Minott,
The Mojo Men,
Richard Hell and the Voidoids,
Soft Machine,
Harpers Bizarre,
Organ,
Ludus,
Eric Copeland,
Loose Ends,
The Fall,
Warsaw,
Sun Ra,
Sight & Sound,
The Toasters,
The Monks,
Brand Nubian,
New York Dolls,
Jacob Miller,
Trumans Water,
Nik Kershaw,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.