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 Burundi and from Philadelphia.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Paris 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 oboe 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 Roy Ayers Ubiquity to the funk 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 Mighty Diamonds. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal funk 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 a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Siglo XX,
Thompson Twins,
Godley & Creme,
The Doors,
Minor Threat,
Supertramp,
Sister Nancy,
Quando Quango,
Nas,
The Blues Magoos,
Outsiders,
Pere Ubu,
The Count Five,
The American Breed,
The Saints,
Eddi Front,
Country Joe & The Fish,
The Kinks,
Justin Hinds & The Dominoes,
Flamin' Groovies,
Joey Negro,
Ponytail,
Art Ensemble Of Chicago,
Magazine,
Kerrie Biddell,
The Sonics,
The Fortunes,
Zero Boys,
Bush Tetras,
Lou Reed & John Cale,
T.S.O.L.,
Avey Tare's Slasher Flicks,
New Age Steppers,
Crispy Ambulance,
Swans,
Bizarre Inc.,
Brothers Johnson,
Junior Murvin,
Nils Olav,
Rekid,
Royal Trux,
Parry Music,
Harpers Bizarre,
The Doobie Brothers,
The Dave Clark Five,
Liliput,
Rapeman,
Desert Stars,
Masters at Work,
The Birthday Party,
Harmonia,
Camouflage,
Bad Manners,
Eric Copeland,
the Swans,
Panda Bear,
Maurizio,
Josef K,
Unwound, Unwound, Unwound, Unwound.
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.