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 Latvia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Roger Hodgson to the disco kids.
I played it at the Astoria.
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 Parry Music. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal rap 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 a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Alton Ellis,
Barrington Levy,
Gabor Szabo,
Eden Ahbez,
The Techniques,
Essential Logic,
Cameo,
The Gun Club,
Mr. Review,
The Kinks,
Teenage Jesus and the Jerks,
Niagra,
The West Coast Pop Art Experimental Band,
The Fortunes,
The United States of America,
Desert Stars,
The Star Department,
Thee Headcoats,
Y Pants,
Delta 5,
The Doobie Brothers,
The Dave Clark Five,
The Flesh Eaters,
Rekid,
Sällskapet,
UT,
Notorious Big And Bone Thugs,
Super Lover Cee & Casanova Rud,
Eric Copeland,
Slave,
Newcleus,
KRS-One,
Kevin Saunderson,
Rahsaan Roland Kirk,
Angry Samoans,
Ash Ra Tempel,
Carl Craig,
Harry Pussy,
Cluster,
Avey Tare,
The Dirtbombs,
Tres Demented,
Richard Hell and the Voidoids,
Bobby Byrd,
Depeche Mode,
The Buckinghams,
Dr. Dre and Snoop Doggy Dog,
The Motions,
The Gories,
Tomorrow,
Kauko Röyhkä ja Narttu,
Bob Dylan,
Dorothy Ashby,
Unrelated Segments,
Public Enemy,
Sexual Harrassment,
Chris Corsano,
Pet Shop Boys,
Siglo XX,
Be Bop Deluxe,
Mark Hollis,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.