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 Armenia and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Pussy Galore to the rock 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 Ajijia Myrayebe. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Ohio Players 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 sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Erykah Badu,
The Blues Magoos,
The Golliwogs,
Mary Jane Girls,
Maleditus Sound,
Khruangbin,
Pagans,
James Chance & The Contortions,
Camberwell Now,
Scott Walker,
Supertramp,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kaleidoscope,
Echospace,
Bobbi Humphrey,
Rotary Connection,
Porter Ricks,
Aaron Thompson,
Neu!,
the Soft Cell,
Cameo,
Nils Olav,
Kauko Röyhkä ja Narttu,
Rites of Spring,
Deutsch Amerikanische Freundschaft,
B.T. Express,
The Index,
X-102,
Al Stewart,
the Bar-Kays,
It's A Beautiful Day,
Man Eating Sloth,
Lou Reed & Metallica,
The Alarm Clocks,
Ituana,
The Tremeloes,
Depeche Mode,
Dark Day,
Idris Muhammad,
Ronnie Foster,
Echo & the Bunnymen,
Andrew Ashong & Theo Parrish,
Janne Schatter,
The Real Kids,
Black Sheep,
Avey Tare's Slasher Flicks,
Piero Umiliani,
FM Einheit,
Boz Scaggs,
Interpol,
Fugazi,
Model 500,
Unrelated Segments,
Joe Smooth,
Jeru the Damaja,
Ultra Naté,
Intrusion,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.