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 Cuba and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Toronto 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 organ sounds with much patience.
I was there when Holger Czukay 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 Al Stewart to the funk kids.
I played it at CBGB's.
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 Duran Duran. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Beasts of Bourbon 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Max Romeo,
Chrome,
The Raincoats,
Rufus Thomas,
Red Lorry Yellow Lorry,
Marvin Gaye,
Nik Kershaw,
Deadbeat,
Saccharine Trust,
Masters at Work,
The Gories,
Surgeon,
Gary Puckett & The Union Gap,
Byron Stingily,
Crash Course in Science,
Visionaries,LMNO, T- Love & Iriscience,
Fugazi,
Man Eating Sloth,
The Electric Prunes,
Sun Ra Arkestra,
Newcleus,
Nick Fraelich,
London Community Gospel Choir,
Con Funk Shun,
Kenny Larkin,
Gabor Szabo,
The West Coast Pop Art Experimental Band,
The Evens,
Joe Finger,
PIL,
Minny Pops,
The Mighty Diamonds,
Barrington Levy,
Glambeats Corp.,
Talk Talk,
James Chance & The Contortions,
The Fortunes,
Junior Murvin,
U.S. Maple,
Ludus,
Gang Starr,
Slick Rick,
Jeff Mills,
Echospace,
The Neon Judgement,
Mantronix,
Negative Approach,
N.O.R.E. Featuring Pharrell,
Boz Scaggs,
AZ,
Fear,
The Index,
Teenage Jesus and the Jerks,
Lindisfarne,
The Leaves,
Das Ding,
Roxy Music,
Maleditus Sound,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.