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 St Kitts & Nevis and from Bremen.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Madrid and Taipei.
I'm losing my edge to the art-school Woodstock 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar 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 John Cale to the dance 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 Rosa Yemen. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Kenny Larkin,
Marc Almond,
Lebanon Hanover,
Avey Tare's Slasher Flicks,
Harry Pussy,
The Black Dice,
Trumans Water,
The Residents,
Mary Jane Girls,
Kango’s Stein Massive,
Icehouse,
Oppenheimer Analysis,
Anthony Braxton,
Q65,
Funkadelic,
Ralphi Rosario,
Albert Ayler,
Matthew Bourne,
The Fire Engines,
The Grass Roots,
Neil Young,
Reuben Wilson,
Louis and Bebe Barron,
Half Japanese,
The Cosmic Jokers,
Barrington Levy,
Dorothy Ashby,
Flipper,
Don Cherry,
Howard Jones,
Man Eating Sloth,
ABC,
T. Rex,
Young Marble Giants,
The West Coast Pop Art Experimental Band,
Kaleidoscope,
Andrew Ashong & Theo Parrish,
Negative Approach,
Inner City,
Bizarre Inc.,
Arcadia,
Moby Grape,
The Walker Brothers,
Donald Byrd,
E-Dancer,
AZ,
Yaz,
Quantec,
Eyeless In Gaza,
Hashim,
David Bowie,
Scan 7,
Sixth Finger,
Gil Scott-Heron & Brian Jackson,
the Germs,
Joy Division,
Jimmy McGriff,
Yellowson,
Aural Exciters,
Mantronix, Mantronix, Mantronix, Mantronix.
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.