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 St Lucia and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Shanghai and Salvador.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 Jesper Dahlback to the dance kids.
I played it at the Roxy.
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 James Chance & The Contortions. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Zero Boys,
The Saints,
EPMD,
Marshall Jefferson,
Marc Almond,
Alice Coltrane,
Michelle Simonal,
The Detroit Cobras,
Freddie Wadling,
Harry Pussy,
Wire,
Dark Day,
Vladislav Delay,
Tom Boy,
Pantytec,
John Lydon,
The Doobie Brothers,
Major Organ And The Adding Machine,
Eurythmics,
Jandek,
Pulsallama,
Isaac Hayes,
Q and Not U,
Wasted Youth,
Ossler,
Babytalk,
Yazoo,
Kevin Saunderson,
Infiniti,
Moby Grape,
Dorothy Ashby,
Reagan Youth,
Neu!,
The Remains,
Ituana,
Gregory Isaacs,
Roger Hodgson,
Lucky Dragons,
Magma,
New Age Steppers,
UT,
The Dave Clark Five,
June Days,
Deutsch Amerikanische Freundschaft,
Röyhkä ja Rättö ja Lehtisalo,
The Golliwogs,
The Birthday Party,
Avey Tare,
The Cure,
Echospace,
Intrusion,
Panda Bear,
Animal Collective,
Chris & Cosey,
Jawbox,
Cybotron,
Juan Atkins,
Skaos,
MC5,
The Alarm Clocks,
Rhythim Is Rhythim,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.