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 El Salvador and from Lyon.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Taipei 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Public Image Ltd. to the grunge kids.
I played it at the Spitz.
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 Sällskapet. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Gregory Isaacs,
Connie Case,
Darondo,
Sun City Girls,
Gabor Szabo,
OOIOO,
Gong,
Slick Rick,
MC5,
The Dead C,
The Gladiators,
Man Eating Sloth,
The Divine Comedy,
Johnny Osbourne,
Richard Hell and the Voidoids,
PIL,
Schoolly D,
Lou Christie,
Matthew Bourne,
Wolf Eyes,
The Music Machine,
Arab on Radar,
Ornette Coleman,
Ronnie Foster,
Neil Young & Crazy Horse,
Frankie Knuckles,
Camberwell Now,
Public Image Ltd.,
Archie Shepp,
The Happenings,
Trumans Water,
Kool G Rap & DJ Polo,
The Five Americans,
Arthur Verocai,
Minor Threat,
Supertramp,
The Last Poets,
Scott Walker + Sunn O))),
Radiopuhelimet,
Angry Samoans,
Eric Copeland,
Roy Ayers,
The Martian,
Funkadelic,
T. Rex,
Organ,
Donny Hathaway,
Quando Quango,
The Kinks,
Khruangbin,
Marvin Gaye,
Tropical Tobacco,
The Saints,
John Coltrane,
Sight & Sound,
Oppenheimer Analysis,
Siouxsie and the Banshees,
Funky Four + One,
The Fuzztones,
Ten City, Ten City, Ten City, Ten City.
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.