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 Tuvalu and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Strawberry Alarm Clock to the jazz kids.
I played it at the Hacienda.
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 Scan 7. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Quadrant,
Pierre Henry,
John Foxx,
Brick,
The Gladiators,
Avey Tare,
Cymande,
Fela Kuti,
Smog,
Prince Buster,
Boz Scaggs,
Eurythmics,
Carl Craig,
Skaos,
The Sound,
Leonard Cohen,
Wasted Youth,
Public Image Ltd.,
John Cale,
Amon Düül II,
Moss Icon,
Brass Construction,
Freddie Wadling,
Sonny Sharrock,
Quando Quango,
Japan,
DNA,
The Vogues,
Vladislav Delay,
Chris Corsano,
Oneida,
Nico,
Radiopuhelimet,
Grandmaster Flash and the Furious Five,
Delta 5,
Laurel Aitken,
Gong,
The Cosmic Jokers,
Avey Tare & Kría Brekkan,
Television,
It's A Beautiful Day,
Dawn Penn,
Art Ensemble Of Chicago,
John Lydon,
The Moody Blues,
The Real Kids,
Jawbox,
Porter Ricks,
Stockholm Monsters,
The Motions,
The Fire Engines,
Terrestrial Tones,
Funkadelic,
Liaisons Dangereuses,
The Standells,
Bobby Byrd,
Sam Rivers,
Frankie Knuckles,
Eli Mardock,
Sex Pistols,
the Bar-Kays,
Can, Can, Can, Can.
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.