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 Madagascar and from Paris.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Paris 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Donny Hathaway to the electroclash 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 Matthew Bourne. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Jimmy McGriff,
Deakin,
Anthony Braxton,
Basic Channel,
The Barracudas,
F. McDonald,
Bush Tetras,
Todd Rundgren,
The Chocolate Watch Band,
Stockholm Monsters,
Los Fastidios,
Danielle Patucci,
The Dirtbombs,
Johnny Clarke,
Gian Franco Pienzio,
The Birthday Party,
Sound Behaviour,
Babytalk,
FM Einheit,
Sister Nancy,
X-101,
Morten Harket,
The Cure,
Gabor Szabo,
Robert Wyatt,
Dave Gahan,
Wasted Youth,
Lonnie Liston Smith,
London Community Gospel Choir,
Freddie Wadling,
Curtis Mayfield,
Amon Düül,
Sunsets and Hearts,
The Kinks,
Angry Samoans,
Deutsch Amerikanische Freundschaft,
Popol Vuh,
Fifty Foot Hose,
This Heat,
Visage,
Flipper,
Sonic Youth,
The Durutti Column,
Alton Ellis,
8 Eyed Spy,
Jeff Mills,
Terror Squad Feat. Camron,
Monolake,
Moebius,
The Leaves,
Unrelated Segments,
New Age Steppers,
Bill Wells,
Jawbox,
The Sound,
Lower 48,
Gang Green,
Mars,
Stetsasonic,
Jeru the Damaja,
Funkadelic,
Ralphi Rosario,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.