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 United States and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Beijing and Delhi.
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 oboe 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 The Beau Brummels to the jazz kids.
I played it at the Roxy.
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 Music Machine. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Pierre Henry,
The Smoke,
Neil Young,
The Associates,
Peter and Kerry,
Eden Ahbez,
The Peanut Butter Conspiracy,
These Immortal Souls,
Art Ensemble Of Chicago,
Man Eating Sloth,
The Mojo Men,
Lungfish,
Jacob Miller,
Strawberry Alarm Clock,
The Young Rascals,
Blake Baxter,
The Stooges,
Nik Kershaw,
Bang on a Can All-Stars,
Davy DMX,
Faust,
Country Joe & The Fish,
Rotary Connection,
Japan,
Big Daddy Kane,
Carl Craig,
The Detroit Cobras,
Sexual Harrassment,
Trumans Water,
Excepter,
Section 25,
New Order,
Danielle Patucci,
Bootsy Collins,
Hasil Adkins,
The Fall,
Livin' Joy,
Angry Samoans,
Quadrant,
The Men They Couldn't Hang,
Fear,
Surgeon,
David Axelrod,
Deadbeat,
L. Decosne,
Make Up,
Faraquet,
The Five Americans,
The Leaves,
Urselle,
Alphaville,
Iggy Pop,
Roger Hodgson,
Bobbi Humphrey,
Von Mondo,
Marine Girls,
Bill Wells,
Schoolly D,
The Searchers,
Richard Hell and the Voidoids,
Fort Wilson Riot,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.