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 Solomon Islands and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Paris and Calgary.
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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Radiopuhelimet to the grime kids.
I played it at the Spitz.
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 Terrestrial Tones. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal disco 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 an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Idris Muhammad,
Monolake,
Kool G Rap & DJ Polo,
Mr. Review,
Boogie Down Productions,
Underground Resistance,
Easy Going,
Flamin' Groovies,
The Cowsills,
UT,
Prince Buster,
The Electric Prunes,
Reagan Youth,
The Invisible,
Be Bop Deluxe,
Deutsch Amerikanische Freundschaft,
In Retrospect,
Nick Cave & The Bad Seeds,
Negative Approach,
Soft Machine,
Dennis Brown,
Sarah Menescal,
Little Man,
Can,
John Coltrane,
Gichy Dan,
The Modern Lovers,
Brick,
Isaac Hayes,
Buzzcocks,
Basic Channel,
Liaisons Dangereuses,
The Cramps,
Minnie Riperton,
Aswad,
Piero Umiliani,
Bootsy's Rubber Band,
Roxette,
The Kinks,
Spoonie Gee,
Black Pus,
Eric Dolphy,
Freddie Wadling,
Bush Tetras,
Quadrant,
Arthur Verocai,
JFA,
Anakelly,
F. McDonald,
the Soft Cell,
Joey Negro,
Bill Wells,
Crime,
The Human League,
Kaleidoscope,
Surgeon,
Dorothy Ashby,
Jeff Mills,
New Age Steppers,
Lower 48, Lower 48, Lower 48, Lower 48.
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.