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 Montenegro and from Bologna.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Man Parrish to the punk kids.
I played it at the Roxy.
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 Radio Birdman. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Prince Buster 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Moby Grape,
Lou Reed & John Cale,
EPMD,
Metal Thangz,
Sun Ra Arkestra,
Crash Course in Science,
Quadrant,
Swell Maps,
The Doors,
Deepchord,
New Age Steppers,
Ultimate Spinach,
Grandmaster Flash,
L. Decosne,
Skriet,
Kerri Chandler,
Marmalade,
Avey Tare's Slasher Flicks,
The Standells,
Bill Wells,
Gichy Dan,
The Residents,
The Chocolate Watch Band,
Liliput,
Main Source,
Sun Ra,
Pylon,
Pantaleimon,
Gang Green,
Drive Like Jehu,
Simply Red,
June of 44,
Spandau Ballet,
The Slackers,
Traffic Nightmare,
Gang Gang Dance,
Lou Reed,
Erykah Badu,
Bizarre Inc.,
Cabaret Voltaire,
Henry Cow,
Eric Dolphy,
Pagans,
Sexual Harrassment,
Procol Harum,
Rahsaan Roland Kirk,
The Mojo Men,
Silicon Teens,
Fela Kuti,
Amazonics,
Scott Walker + Sunn O))),
Cymande,
Ultramagnetic MC's,
Adolescents,
Visionaries,LMNO, T- Love & Iriscience,
The Doobie Brothers,
The Gladiators,
Slave,
Delta 5,
Shuggie Otis,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.