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 Nicaragua and from Paris.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Can practice in a loft in Cologne.
I was working on the theremin 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 Intrusion to the crunk 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 Loose Ends. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Richard Hell and the Voidoids,
Ituana,
Minny Pops,
Thee Headcoats,
The Royal Family And The Poor,
James Chance & The Contortions,
The Misunderstood,
Todd Terry,
Sight & Sound,
Eden Ahbez,
Young Marble Giants,
Barry Ungar,
Tears for Fears,
Little Man,
Kool G Rap & DJ Polo,
Mo-Dettes,
Make Up,
Moebius,
Max Romeo,
June of 44,
Jawbox,
Marine Girls,
Mark Hollis,
Adolescents,
Derrick Morgan,
Bobby Sherman,
Gang Starr,
Buzzcocks,
Model 500,
Glenn Branca,
The Doobie Brothers,
Smog,
Hashim,
Major Organ And The Adding Machine,
Gary Puckett & The Union Gap,
Guru Guru,
OOIOO,
Half Japanese,
Pagans,
Technova,
the Normal,
Ultimate Spinach,
EPMD,
Gil Scott-Heron and Jamie xx,
Section 25,
Thinking Fellers Union Local 282,
Kango’s Stein Massive,
Matthew Bourne,
In Retrospect,
The Cramps,
Amazonics,
Pete Rock & C.L. Smooth,
Sam Rivers,
Rapeman,
Monolake,
Simply Red,
Bang On A Can,
K-Klass,
Fatback Band,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.