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 Bosnia Herzegovina and from Milan.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Quando Quango to the funk 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 Flamin' Groovies. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
The West Coast Pop Art Experimental Band,
Jacques Brel,
The Birthday Party,
The Techniques,
Avey Tare's Slasher Flicks,
Dorothy Ashby,
Bobbi Humphrey,
Minnie Riperton,
Lindisfarne,
Anthony Braxton,
Bad Manners,
Marshall Jefferson,
Peter Gordon & Love of Life Orchestra,
David McCallum,
Eric Copeland,
LL Cool J,
Gichy Dan,
Ten City,
MDC,
June Days,
Motorama,
Moss Icon,
Gil Scott-Heron and Jamie xx,
Bobby Hutcherson,
Sam Rivers,
The Searchers,
Don Cherry,
The Moleskins,
Dark Day,
B.T. Express,
John Foxx,
Marine Girls,
The Doors,
Lizzy Mercier Descloux,
These Immortal Souls,
Skriet,
The Move,
Peter and Kerry,
Wasted Youth,
Black Flag,
Crime,
Fluxion,
Little Man,
Robert Hood,
Banda Bassotti,
Half Japanese,
Janne Schatter,
Faust,
Joensuu 1685,
Oppenheimer Analysis,
Warsaw,
Sun City Girls,
Pharoah Sanders,
Ornette Coleman,
Malaria!,
DJ Sneak,
Oblivians,
La Düsseldorf,
Electric Light Orchestra,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.