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 Seychelles and from Tokyo.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Winnipeg.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum 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 Procol Harum to the crunk 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 Kool G Rap & DJ Polo. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
The Neon Judgement,
Dead Boys,
48th St. Collective,
Sarah Menescal,
Captain Beefheart & His Magic Band,
Larry & the Blue Notes,
Matthew Halsall,
Boz Scaggs,
Ossler,
Cabaret Voltaire,
Sparks,
Manfred Mann's Earth Band,
Chrome,
Lou Christie,
Minny Pops,
The Count Five,
kango's stein massive,
The Slackers,
Monolake,
Scratch Acid,
Hashim,
The Alarm Clocks,
Kauko Röyhkä ja Narttu,
DeepChord presents Echospace,
The Wake,
Jawbox,
Black Pus,
Deadbeat,
Juan Atkins,
Vaughan Mason & Crew,
L. Decosne,
Lakeside,
Judy Mowatt,
Ornette Coleman,
The Durutti Column,
The American Breed,
Heaven 17,
JFA,
ABC,
Qualms,
the Fania All-Stars,
Kevin Saunderson,
Morten Harket,
Sad Lovers and Giants,
Radiohead,
Inner City,
UT,
Mandrill,
DJ Style,
Freddie Wadling,
Mantronix,
Liaisons Dangereuses,
The Raincoats,
Minnie Riperton,
Depeche Mode,
Al Stewart,
Marine Girls,
Kango’s Stein Massive,
The Divine Comedy,
The Human League,
John Coltrane,
The Doobie Brothers,
The Techniques, The Techniques, The Techniques, The Techniques.
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.