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 Greece and from Edmonton.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Beijing and Winnipeg.
I'm losing my edge to the art-school Beijing 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 snare 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 The Electric Prunes to the electroclash kids.
I played it at Cafe Wha.
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 The Slits. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Beasts of Bourbon,
Heavy D & The Boyz,
The Standells,
T.S.O.L.,
Soul Sonic Force,
Malaria!,
Fear,
Eve St. Jones,
Crispian St. Peters,
The Searchers,
Kerrie Biddell,
Masters at Work,
Terror Squad Feat. Camron,
The Techniques,
The Knickerbockers,
Brass Construction,
Al Stewart,
Deepchord,
Marmalade,
De La Soul & Jungle Brothers,
Ralphi Rosario,
The Offenders,
Yusef Lateef,
10cc,
Kings Of Tomorrow,
Can,
The Men They Couldn't Hang,
Bill Near,
Lalo Schifrin,
Altered Images,
Notorious BIG live in Amsterdam,
The Star Department,
The Mojo Men,
Johnny Osbourne,
The Beau Brummels,
The Remains,
the Human League,
Ash Ra Tempel,
The Five Americans,
Interpol,
Sly & The Family Stone,
Amazonics,
Lower 48,
Grauzone,
Ornette Coleman,
Ronan,
Teenage Jesus and the Jerks,
Sunsets and Hearts,
Spoonie Gee,
Godley & Creme,
Harpers Bizarre,
Pharaoh Sanders and the Fire Engines,
Angels of Light & Akron/Family,
Albert Ayler,
Thompson Twins,
the Bar-Kays,
Bronski Beat,
Strawberry Alarm Clock,
The Blackbyrds,
the Association,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.