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 Sierra Leone and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school London 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Yaz to the crunk 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 Theoretical Girls. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Japan 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Aloha Tigers,
Ornette Coleman,
Circle Jerks,
The Toasters,
Jandek,
Bill Near,
Saccharine Trust,
JFA,
Larry & the Blue Notes,
OOIOO,
The Selecter,
Roy Ayers Ubiquity,
Deakin,
The United States of America,
Sugar Minott,
Kauko Röyhkä ja Narttu,
Marmalade,
Cheater Slicks,
DNA,
The Cure,
Bronski Beat,
Tim Buckley,
the Germs,
Fatback Band,
Janne Schatter,
Louis and Bebe Barron,
The Electric Prunes,
Brothers Johnson,
Yazoo,
Lebanon Hanover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mo-Dettes,
Bob Dylan,
Liliput,
Delta 5,
Rapeman,
Richard Hell and the Voidoids,
Negative Approach,
Harpers Bizarre,
Bobby Hutcherson,
Radio Birdman,
Country Teasers,
The Martian,
Beasts of Bourbon,
The Durutti Column,
The Saints,
Icehouse,
CMW,
Mission of Burma,
Slick Rick,
The American Breed,
Mark Hollis,
Steve Hackett,
Excepter,
Joy Division,
Interpol,
The Peanut Butter Conspiracy,
Robert Görl,
Pantaleimon,
The Busters,
Anthony Braxton,
The Kinks,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.