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 Cambodia and from Jakarta.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Tehran.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord 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 Robert Hood to the crunk kids.
I played it at the Hacienda.
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 Chris Corsano. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Nirvana 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
The West Coast Pop Art Experimental Band,
Sonic Youth,
Kerri Chandler,
JFA,
The Busters,
Connie Case,
Heavy D & The Boyz,
Cal Tjader,
Isaac Hayes,
Schoolly D,
Ten City,
The Vogues,
Man Parrish,
Average White Band,
Electric Light Orchestra,
Metal Thangz,
Royal Trux,
Ossler,
Larry & the Blue Notes,
Cheater Slicks,
EPMD,
Donald Byrd,
Anthony Braxton,
Lou Reed & John Cale,
Brick,
Janne Schatter,
Dark Day,
Throbbing Gristle,
Notorious BIG live in Amsterdam,
The Remains,
ABC,
Rekid,
Ponytail,
Chrome,
Loose Ends,
Flamin' Groovies,
Mantronix,
The Happenings,
Blancmange,
Nils Olav,
Amon Düül,
Sun City Girls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
R.M.O.,
Funkadelic,
Los Fastidios,
Ultra Naté,
Jawbox,
Grandmaster Flash,
Louis and Bebe Barron,
Colin Newman,
Accadde A,
The Doobie Brothers,
Anakelly,
Rapeman,
The Toasters,
Sexual Harrassment,
Mad Mike,
Jeff Lynne,
Sam Rivers,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.