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 Turkey and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Taipei 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 harpsichord 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 Sällskapet to the rap kids.
I played it at the Spitz.
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 Graham Central Station. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every New York Dolls 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Wire,
Mr. Review,
Sight & Sound,
Popol Vuh,
Jeru the Damaja,
Soul II Soul,
Alphaville,
Mission of Burma,
Japan,
The Seeds,
Gary Puckett & The Union Gap,
MDC,
The Star Department,
Sex Pistols,
Oppenheimer Analysis,
Eyeless In Gaza,
Ludus,
Hot Snakes,
OOIOO,
Dawn Penn,
Bush Tetras,
Procol Harum,
Lakeside,
Sticky Fingaz feat. Raekwon,
World's Most,
B.T. Express,
The Peanut Butter Conspiracy,
The Happenings,
Terry Callier,
Radio Birdman,
Donny Hathaway,
cv313,
Gil Scott Heron,
Crash Course in Science,
Ronan,
Idris Muhammad,
Scrapy,
Faust,
Patti Smith,
Loose Ends,
Gang of Four,
Sällskapet,
Bobby Womack,
PIL,
The Blackbyrds,
T.S.O.L.,
Blake Baxter,
KRS-One,
Ken Boothe,
Hasil Adkins,
Lower 48,
Spandau Ballet,
The Wake,
Bobby Hutcherson,
Sandy B,
Pere Ubu,
Warren Ellis,
Average White Band,
Janne Schatter,
Yaz, Yaz, Yaz, Yaz.
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.