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 Barbados and from Salvador.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Portland 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 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 Cowsills to the disco kids.
I played it at the Crocodile.
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 Graham Central Station. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Smog,
Bang on a Can All-Stars,
Fort Wilson Riot,
The Knickerbockers,
Thee Headcoats,
Lizzy Mercier Descloux,
The Sonics,
The Martian,
The Birthday Party,
Pole,
Echo & the Bunnymen,
The Sound,
FM Einheit,
Crash Course in Science,
Jimmy McGriff,
Theoretical Girls,
Ken Boothe,
Joyce Sims,
The Victims,
Circle Jerks,
The Seeds,
Moss Icon,
Tomorrow,
The Fall,
Brothers Johnson,
Deadbeat,
Urselle,
Vainqueur,
Animal Collective,
Tropical Tobacco,
Byron Stingily,
Kerrie Biddell,
Main Source,
Rhythim Is Rhythim,
Malaria!,
Rod Modell,
Quando Quango,
Scratch Acid,
Pantytec,
Hot Snakes,
Monolake,
Duran Duran,
Arab on Radar,
Infiniti,
Man Eating Sloth,
Gichy Dan,
Robert Hood,
Boogie Down Productions,
Fad Gadget,
10cc,
Electric Prunes,
Tom Boy,
Echospace,
Super Lover Cee & Casanova Rud,
Lebanon Hanover,
Lou Christie,
Can,
Clear Light,
The Flesh Eaters,
Harmonia,
KRS-One,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.