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 Spokane.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Tokyo 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 Sarah Menescal to the funk kids.
I played it at the Spitz.
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 Crooked Eye. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every The Count Five 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Royal Trux,
Rowland S Howard / Lydia Lunch,
The Golliwogs,
Alton Ellis,
The Monks,
Don Cherry,
Jacques Brel,
Soulsonic Force,
DNA,
the Soft Cell,
The Toasters,
The Knickerbockers,
Pet Shop Boys,
Teenage Jesus and the Jerks,
The New Christs,
Circle Jerks,
Theoretical Girls,
Marc Romboy vs. Booka Shade,
Piero Umiliani,
Strawberry Alarm Clock,
Livin' Joy,
The Gories,
Country Joe & The Fish,
Arcadia,
The Wake,
Vaughan Mason & Crew,
Alice Coltrane,
Drive Like Jehu,
Kurtis Blow,
Eve St. Jones,
Sixth Finger,
Adolescents,
Glenn Branca,
Ultravox,
Pharaoh Sanders and the Fire Engines,
The Remains,
Connie Case,
Blossom Toes,
Röyhkä ja Rättö ja Lehtisalo,
Big Daddy Kane,
Technova,
Derrick Morgan,
Rakim,
New Order,
Q65,
The Zeros,
Liliput,
Blake Baxter,
Mo-Dettes,
The Electric Prunes,
Fela Kuti,
The Mojo Men,
Sparks,
Funkadelic,
The Alarm Clocks,
D'Angelo,
Eli Mardock,
The Index,
Flipper,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.