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 Edmonton.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lyon and Manila.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord 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 The United States of America to the electroclash kids.
I played it at Cafe Wha.
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 Theoretical Girls. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Ten City,
Eyeless In Gaza,
Faust,
The Red Krayola,
Bluetip,
Todd Terry,
Max Romeo,
Nation of Ulysses,
Negative Approach,
Don Cherry,
Joe Finger,
The Moleskins,
Stiv Bators,
X-102,
The Wake,
Ossler,
Susan Cadogan,
The Chocolate Watch Band,
Leonard Cohen,
Sixth Finger,
kango's stein massive,
Half Japanese,
June Days,
Moebius,
The Smiths,
MDC,
Jacques Brel,
Lee Hazlewood,
Symarip,
The J.B.'s,
Iggy Pop,
Notorious Big And Bone Thugs,
T. Rex,
This Heat,
Bang on a Can All-Stars,
Yusef Lateef,
F. McDonald,
Swans,
Connie Case,
JFA,
UT,
Sun City Girls,
Idris Muhammad,
Model 500,
The Martian,
Ultramagnetic MC's,
The Kinks,
Intrusion,
Erykah Badu,
Dr. Dre and Snoop Doggy Dog,
Rotary Connection,
ABC,
The Busters,
The Alarm Clocks,
Swell Maps,
a-ha,
Oppenheimer Analysis,
Lalann,
Ajijia Myrayebe,
Delon & Dalcan,
Warsaw, Warsaw, Warsaw, Warsaw.
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.