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 Spain and from Portland.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Shanghai 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Rites of Spring to the punk 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 Eric Dolphy. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
D'Angelo,
Rites of Spring,
Heaven 17,
Godley & Creme,
Louis and Bebe Barron,
Cecil Taylor,
A Flock of Seagulls,
The Kinks,
Gang of Four,
Outsiders,
Roy Ayers Ubiquity,
Smog,
Oneida,
Chris Corsano,
Roger Hodgson,
the Association,
Monks,
Lungfish,
Essential Logic,
Gregory Isaacs,
Electric Light Orchestra,
the Soft Cell,
Cluster,
Dark Day,
June Days,
Morten Harket,
The Gladiators,
The Pop Group,
Supertramp,
David Axelrod,
Henry Cow,
Dawn Penn,
The Litter,
The Slits,
Moebius,
The Mojo Men,
ABC,
Agent Orange,
Kaleidoscope,
The Beau Brummels,
Gian Franco Pienzio,
Soft Machine,
Los Fastidios,
Pierre Henry,
Sixth Finger,
Barry Ungar,
Ten City,
The Blues Magoos,
Be Bop Deluxe,
Black Pus,
Quadrant,
Rod Modell,
Half Japanese,
Man Parrish,
Jacques Brel,
Mo-Dettes,
Rekid,
Lee Hazlewood,
Thinking Fellers Union Local 282,
Glenn Branca,
Eric B and Rakim,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.