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 Czech Republic and from Beijing.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when Robert Palmer 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 James White and The Blacks to the grime kids.
I played it at the Astoria.
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 Scan 7. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Reagan Youth 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Hardrive,
Lalann,
The Beau Brummels,
Monks,
K-Klass,
Livin' Joy,
Joey Negro,
E-Dancer,
Accadde A,
Sun Ra,
Tubeway Army,
The Walker Brothers,
Sarah Menescal,
Dawn Penn,
Intrusion,
Bobby Womack,
Wire,
Captain Beefheart & His Magic Band,
Hashim,
Agitation Free,
The Dave Clark Five,
Spandau Ballet,
CMW,
Masters at Work,
The Moody Blues,
Cal Tjader,
Urselle,
Morten Harket,
Terror Squad Feat. Camron,
Television,
Country Joe & The Fish,
Dave Gahan,
The Fortunes,
Kayak,
Graham Central Station,
Saccharine Trust,
Ornette Coleman,
Scratch Acid,
Model 500,
Young Marble Giants,
Section 25,
Brothers Johnson,
Judy Mowatt,
Little Man,
Jimmy McGriff,
Minutemen,
Jawbox,
Dual Sessions,
Nirvana,
Gabor Szabo,
Ultimate Spinach,
The Evens,
Lightning Bolt,
Archie Shepp,
Wally Richardson,
Terrestrial Tones,
James Chance & The Contortions,
Audionom,
The New Christs,
Al Stewart,
Suicide, Suicide, Suicide, Suicide.
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.