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 Zambia 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 1962 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Johannesburg 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Shuggie Otis to the disco 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 Animal Collective. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Alphaville 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
Ultra Naté,
Country Teasers,
Kool Moe Dee,
The Velvet Underground,
The Martian,
Mr. Review,
The Mojo Men,
Cecil Taylor,
Boredoms,
Sarah Menescal,
New York Dolls,
Connie Case,
Eric B and Rakim,
Fear,
Barry Ungar,
Avey Tare's Slasher Flicks,
The Sonics,
EPMD,
Nils Olav,
Cameo,
John Coltrane,
Lou Reed,
Roxette,
The Evens,
Marcia Griffiths,
Echo & the Bunnymen,
Ultimate Spinach,
The Searchers,
Sparks,
Dark Day,
Roger Hodgson,
Isaac Hayes,
Monks,
Von Mondo,
Fort Wilson Riot,
Thompson Twins,
DNA,
Fad Gadget,
Sun Ra Arkestra,
X-101,
Masters at Work,
Niagra,
Wolf Eyes,
Siouxsie and the Banshees,
Aaron Thompson,
Morten Harket,
Bang on a Can All-Stars,
Heaven 17,
Sun Ra,
Ken Boothe,
Lou Reed & Metallica,
Jerry Gold Smith,
The Slits,
Tres Demented,
Major Organ And The Adding Machine,
The Names,
Danielle Patucci,
Rhythim Is Rhythim,
The Slackers,
Roy Ayers Ubiquity,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.