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 United Kingdom and from Seoul.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Bremen 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Manfred Mann's Earth Band to the grunge kids.
I played it at the Roxy.
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 Lindisfarne. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal techno 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 a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Pierre Henry,
Malaria!,
Sam Rivers,
the Association,
One Last Wish,
Technova,
The Barracudas,
Deepchord,
Flipper,
Avey Tare & Kría Brekkan,
The Beau Brummels,
Mission of Burma,
Donald Byrd,
Brass Construction,
Eyeless In Gaza,
Jerry's Kids,
Lou Christie,
Unrelated Segments,
Sun Ra Arkestra,
Lafayette Afro Rock Band,
Nirvana,
Soul Sonic Force,
Crash Course in Science,
The Invisible,
Todd Rundgren,
The Slackers,
Negative Approach,
Harpers Bizarre,
Siouxsie and the Banshees,
Notorious Big And Bone Thugs,
The Smoke,
The Cure,
The Modern Lovers,
Chris & Cosey,
Sunsets and Hearts,
Gang Gang Dance,
New York Dolls,
Jesper Dahlback,
Tropical Tobacco,
The Men They Couldn't Hang,
Andrew Hill,
Lizzy Mercier Descloux,
Avey Tare,
Subhumans,
Notorious BIG live in Amsterdam,
Public Image Ltd.,
Lalann,
Wasted Youth,
Can,
Surgeon,
K-Klass,
Yazoo,
The Monks,
ABBA,
Gian Franco Pienzio,
The Slits,
Interpol,
Pet Shop Boys,
Soft Machine,
Aswad,
Fugazi,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.