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 Maldives and from Milan.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
I'm losing my edge to the art-school Manila 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Iggy Pop to the funk 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 Avey Tare. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Sister Nancy,
Liliput,
Pharaoh Sanders and the Fire Engines,
A Flock of Seagulls,
Young Marble Giants,
The Monochrome Set,
This Heat,
the Association,
The Dead C,
Urselle,
Ultimate Spinach,
Bauhaus,
Jerry's Kids,
Eli Mardock,
Main Source,
Country Joe & The Fish,
Underground Resistance,
Lightning Bolt,
The Count Five,
Danielle Patucci,
Tropical Tobacco,
Dark Day,
Derrick May,
Avey Tare,
Desert Stars,
Piero Umiliani,
Organ,
Crispian St. Peters,
Lou Reed & John Cale,
The Searchers,
The Doobie Brothers,
Josef K,
Kango’s Stein Massive,
Beasts of Bourbon,
Big Daddy Kane,
Siglo XX,
Mark Hollis,
Roger Hodgson,
Grey Daturas,
Deakin,
Tomorrow,
Lou Reed,
Derrick Morgan,
Easy Going,
Bad Manners,
Jeff Lynne,
Surgeon,
Louis and Bebe Barron,
Al Stewart,
Bob Dylan,
Aaron Thompson,
Theoretical Girls,
Henry Cow,
Marc Romboy vs. Booka Shade,
Blake Baxter,
Alice Coltrane,
Slick Rick,
The Monks,
Bootsy Collins,
Rosa Yemen,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.