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 Andorra and from Milan.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Toronto.
I'm losing my edge to the art-school Mumbai 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 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 Monks to the funk 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 Half Japanese. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Mary Jane Girls 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Mo-Dettes,
Andrew Hill,
Robert Hood,
Ohio Players,
Harpers Bizarre,
Lungfish,
Funky Four + One,
Mission of Burma,
Joe Smooth,
Aaron Thompson,
Soulsonic Force,
Blake Baxter,
Juan Atkins,
Negative Approach,
Marshall Jefferson,
Buzzcocks,
Schoolly D,
Sarah Menescal,
Rhythim Is Rhythim,
Iggy Pop,
Tomorrow,
Pere Ubu,
Pete Rock & C.L. Smooth,
Unwound,
Aural Exciters,
Hoover,
David McCallum,
The Dirtbombs,
Duran Duran,
John Lydon,
Lindisfarne,
Bronski Beat,
Radio Birdman,
Moebius,
Cybotron,
Bootsy's Rubber Band,
Siglo XX,
Gang Starr,
Piero Umiliani,
Cecil Taylor,
Oppenheimer Analysis,
Stiv Bators,
The Red Krayola,
Kool Moe Dee,
The Alarm Clocks,
Throbbing Gristle,
Isaac Hayes,
Roxy Music,
Nick Fraelich,
The Zeros,
Orchestral Manoeuvres in the Dark,
48th St. Collective,
Junior Murvin,
The Neon Judgement,
EPMD,
the Sonics,
The Fugs,
Eddi Front,
Radiopuhelimet,
Neil Young,
Prince Buster,
Can,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.