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 San Marino and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Seoul and Toronto.
I'm losing my edge to the art-school Winnipeg 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Sonny Sharrock to the techno kids.
I played it at the Troubador.
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 Lou Reed & Metallica. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Sun Ra,
Kauko Röyhkä ja Narttu,
Albert Ayler,
Sam Rivers,
Boredoms,
Eddi Front,
Blossom Toes,
Subhumans,
Robert Wyatt,
Pet Shop Boys,
Joensuu 1685,
Joe Smooth,
Traffic Nightmare,
Ituana,
Dr. Dre and Snoop Doggy Dog,
Marc Romboy vs. Booka Shade,
Basic Channel,
Jacob Miller,
Adolescents,
Anakelly,
Pere Ubu,
The Gap Band,
Bobby Byrd,
Grandmaster Flash and the Furious Five,
F. McDonald,
Wings,
Bobby Sherman,
Barbara Tucker,
Lakeside,
Shuggie Otis,
Khruangbin,
Fort Wilson Riot,
Jacques Brel,
Liaisons Dangereuses,
Angels of Light & Akron/Family,
The Toasters,
Glambeats Corp.,
Colin Newman,
The Real Kids,
Technova,
Matthew Bourne,
Public Image Ltd.,
Camberwell Now,
London Community Gospel Choir,
Electric Prunes,
Bizarre Inc.,
the Slits,
Hot Snakes,
Jesper Dahlbäck,
DJ Sneak,
Nick Fraelich,
The Seeds,
Ultramagnetic MC's,
The Smoke,
Soul II Soul,
The Doors,
Graham Central Station,
Arab on Radar,
Röyhkä ja Rättö ja Lehtisalo,
The Dirtbombs,
Roxy Music,
Carl Craig,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.