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 Kyrgyzstan and from Beijing.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Madrid and Manila.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Bill Wells to the jazz kids.
I played it at the Crocodile.
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 Surgeon. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Jesper Dahlback 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a DeepChord presents Echospace record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
Qualms,
Reagan Youth,
Alice Coltrane,
The Motions,
Lou Christie,
U.S. Maple,
Yazoo,
R.M.O.,
Ultimate Spinach,
Girls At Our Best!,
The Royal Family And The Poor,
E-Dancer,
Faust,
Marshall Jefferson,
Moss Icon,
Jeff Mills,
Minor Threat,
Howard Jones,
The Raincoats,
48th St. Collective,
Liaisons Dangereuses,
The Jesus and Mary Chain,
Half Japanese,
Joyce Sims,
Rahsaan Roland Kirk,
Oneida,
Alphaville,
The Modern Lovers,
Banda Bassotti,
Shoche,
Y Pants,
The Index,
Crispy Ambulance,
Zero Boys,
The Happenings,
Tears for Fears,
Fat Boys,
Panda Bear,
Chris Corsano,
Rakim,
Arab on Radar,
Reuben Wilson,
Q65,
Lonnie Liston Smith,
Soft Machine,
Roxette,
Altered Images,
Lou Reed,
The J.B.'s,
Mr. Review,
Franke,
The United States of America,
Kevin Saunderson,
Theoretical Girls,
Harpers Bizarre,
Aaron Thompson,
Delta 5,
Mad Mike,
Can,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.