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 Syria and from Sao Paulo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Duran Duran to the dance 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 DeepChord presents Echospace. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Supertramp 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 '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Dual Sessions,
Peter & Gordon,
Royal Trux,
Basic Channel,
Maurizio,
Whodini,
The Jesus and Mary Chain,
Stockholm Monsters,
Sonic Youth,
Sun Ra Arkestra,
Erasure,
the Bar-Kays,
Junior Murvin,
Soft Machine,
Kas Product,
The Gories,
Skaos,
Throbbing Gristle,
Tears for Fears,
Audionom,
10cc,
B.T. Express,
X-102,
Funkadelic,
Idris Muhammad,
Moebius,
Rufus Thomas,
The Barracudas,
Public Image Ltd.,
Laurel Aitken,
Aloha Tigers,
Echo & the Bunnymen,
Tres Demented,
The Alarm Clocks,
Buzzcocks,
The Evens,
Roxy Music,
Joe Finger,
Bill Wells,
Suicide,
Gian Franco Pienzio,
Nik Kershaw,
Simply Red,
Hasil Adkins,
Judy Mowatt,
Lightning Bolt,
Ultimate Spinach,
Jawbox,
Country Joe & The Fish,
Deepchord,
Colin Newman,
kango's stein massive,
Mo-Dettes,
Alison Limerick,
The Chocolate Watch Band,
Andrew Hill,
Avey Tare & Kría Brekkan,
Delta 5,
Johnny Osbourne,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.