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 Guatemala and from Mumbai.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Bremen and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 Joe Smooth to the jazz kids.
I played it at the Roxy.
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 Gang Gang Dance. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every 48th St. Collective 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 '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Toni Rubio,
Moebius,
Rowland S Howard / Lydia Lunch,
Royal Trux,
Matthew Bourne,
Dual Sessions,
The Martian,
Boogie Down Productions,
Joe Finger,
Pulsallama,
Minny Pops,
The Gap Band,
Sugar Minott,
The Fuzztones,
Black Flag,
MC5,
Goldenarms,
Black Pus,
Quantec,
Donald Byrd,
Todd Terry,
The Searchers,
Byron Stingily,
The Fortunes,
Alison Limerick,
The Techniques,
The Real Kids,
Grauzone,
Nas,
Steve Hackett,
Robert Hood,
The Happenings,
Adolescents,
The Fire Engines,
Iggy Pop,
Vladislav Delay,
The Fall,
Deutsch Amerikanische Freundschaft,
The Sonics,
Deadbeat,
David Axelrod,
KRS-One,
Alice Coltrane,
Tomorrow,
Ronan,
The Red Krayola,
Von Mondo,
The Evens,
Fad Gadget,
Franke,
the Swans,
Lou Reed,
Pharoah Sanders,
Althea and Donna,
Wire,
Faraquet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sällskapet,
Heavy D & The Boyz,
Cecil Taylor,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.