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 Slovakia and from Taipei.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 FM Einheit to the funk kids.
I played it at the 40 Watt.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Mark Hollis,
Gregory Isaacs,
the Association,
Dark Day,
Au Pairs,
Quantec,
Mars,
Selector Dub Narcotic,
The Zeros,
Jawbox,
Anthony Braxton,
Bauhaus,
Easy Going,
the Germs,
Dorothy Ashby,
Gerry Rafferty,
Excepter,
Gil Scott Heron,
Scan 7,
The Selecter,
Pole,
Terror Squad Feat. Camron,
Nick Cave & The Bad Seeds,
Unrelated Segments,
Youth Brigade,
Mary Jane Girls,
Tears for Fears,
Television Personalities,
The Litter,
Captain Beefheart & His Magic Band,
Little Man,
Isaac Hayes,
The Flesh Eaters,
Mr. Review,
Mantronix,
F. McDonald,
Harmonia,
Nation of Ulysses,
Basic Channel,
Technova,
Groovy Waters,
Terrestrial Tones,
Flipper,
Justin Hinds & The Dominoes,
The Men They Couldn't Hang,
Gil Scott-Heron & Brian Jackson,
Cal Tjader,
Soft Machine,
Bill Near,
Quando Quango,
Camberwell Now,
Bobby Byrd,
Porter Ricks,
Glenn Branca,
Moby Grape,
Qualms,
DeepChord presents Echospace,
Alison Limerick,
The Mummies,
Byron Stingily,
Major Organ And The Adding Machine,
Skriet, Skriet, Skriet, Skriet.
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.