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 Niger and from Lagos.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 Pierre Henry to the disco kids.
I played it at the 40 Watt.
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 Wolf Eyes. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Letta Mbulu,
Liaisons Dangereuses,
Massinfluence,
Talk Talk,
Johnny Clarke,
Roxette,
Janne Schatter,
Rhythm & Sound,
Moss Icon,
Roy Ayers Ubiquity,
New York Dolls,
DeepChord presents Echospace,
48th St. Collective,
Lou Reed & John Cale,
Nirvana,
Alice Coltrane,
Jesper Dahlback,
Babytalk,
the Slits,
Rod Modell,
Sixth Finger,
F. McDonald,
Soft Machine,
Neil Young,
Amon Düül,
Robert Hood,
Dr. Dre and Snoop Doggy Dog,
Rites of Spring,
The Chocolate Watch Band,
The Toasters,
Avey Tare's Slasher Flicks,
June of 44,
Henry Cow,
Public Enemy,
Camouflage,
Dual Sessions,
Lee Hazlewood,
Unrelated Segments,
The Dave Clark Five,
Roxy Music,
The Zeros,
Andrew Ashong & Theo Parrish,
Black Pus,
Judy Mowatt,
Gong,
June Days,
Nick Fraelich,
Grandmaster Flash,
Public Image Ltd.,
Whodini,
Kool G Rap & DJ Polo,
The Doors,
Scion,
Niagra,
the Bar-Kays,
Von Mondo,
Eli Mardock,
Kayak,
Barrington Levy,
Peter and Kerry,
Liliput, Liliput, Liliput, Liliput.
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.