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 El Salvador and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Columbus 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 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 Desert Stars to the grunge kids.
I played it at the Crocodile.
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 The Kinks. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every The Birthday Party 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Roxy Music,
Smog,
Marc Romboy vs. Booka Shade,
Agent Orange,
The Kinks,
CMW,
Bootsy's Rubber Band,
Blancmange,
Brick,
Andrew Ashong & Theo Parrish,
Donald Byrd,
Dawn Penn,
Radiohead,
Pantaleimon,
FM Einheit,
Harpers Bizarre,
Mr. Review,
The Raincoats,
Kings Of Tomorrow,
Donny Hathaway,
E-Dancer,
Camberwell Now,
Sad Lovers and Giants,
The Music Machine,
The Barracudas,
Cabaret Voltaire,
Marmalade,
Delta 5,
Pharaoh Sanders and the Fire Engines,
In Retrospect,
Pagans,
Godley & Creme,
Severed Heads,
a-ha,
Camouflage,
Trumans Water,
The Zeros,
Hashim,
The Walker Brothers,
Bang on a Can All-Stars,
Masters at Work,
The Gladiators,
Vainqueur,
Section 25,
Warren Ellis,
Traffic Nightmare,
The Victims,
London Community Gospel Choir,
Bang On A Can,
The Dave Clark Five,
Jacques Brel,
The Count Five,
Barrington Levy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Qualms,
John Holt,
Oppenheimer Analysis,
Ash Ra Tempel,
Graham Central Station,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.