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 Colombia and from Taipei.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Toronto 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 synthesizer 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 Hashim to the grunge 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 Flamin' Groovies. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Soulsonic Force,
The Fugs,
The Martian,
Nik Kershaw,
Bluetip,
Mars,
Andrew Hill,
Pete Rock & C.L. Smooth,
Urselle,
Fifty Foot Hose,
New York Dolls,
Bush Tetras,
Throbbing Gristle,
Gastr Del Sol,
Harmonia,
Nick Cave & The Bad Seeds,
Kool Moe Dee,
Ten City,
Arthur Verocai,
The Electric Prunes,
The Flesh Eaters,
Avey Tare's Slasher Flicks,
Rhythm & Sound,
The Fall,
Pole,
Mandrill,
Oneida,
Big Daddy Kane,
The Mummies,
Hot Snakes,
The Techniques,
E-Dancer,
Max Romeo,
Country Teasers,
Au Pairs,
Nils Olav,
Aswad,
Cluster,
The Young Rascals,
Bootsy Collins,
Johnny Osbourne,
The Durutti Column,
Hardrive,
Infiniti,
Boredoms,
Stiv Bators,
David McCallum,
the Germs,
Technova,
Colin Newman,
Rowland S Howard / Lydia Lunch,
Crash Course in Science,
Gang Green,
Sonny Sharrock,
The Skatalites,
It's A Beautiful Day,
Ralphi Rosario,
the Fania All-Stars,
Procol Harum,
Quadrant, Quadrant, Quadrant, Quadrant.
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.