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 Belize and from Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bremen and Bremen.
I'm losing my edge to the art-school Bremen 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 The Fire Engines to the dance 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 Stiv Bators. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Notorious Big And Bone Thugs,
Nico,
Ralphi Rosario,
The Toasters,
The Count Five,
Susan Cadogan,
Suicide,
T.S.O.L.,
EPMD,
Tears for Fears,
Maleditus Sound,
Panda Bear,
Tommy Roe,
The Gap Band,
T. Rex,
The Neon Judgement,
Grandmaster Flash and the Furious Five,
Bobbi Humphrey,
Public Image Ltd.,
Amon Düül II,
H. Thieme,
Stetsasonic,
The Happenings,
Black Pus,
Bizarre Inc.,
48th St. Collective,
Unrelated Segments,
10cc,
The Motions,
Loose Ends,
The American Breed,
ABC,
The Dead C,
The Mojo Men,
Adolescents,
The Busters,
Jerry Gold Smith,
Wasted Youth,
The Sound,
Charles Mingus,
Massinfluence,
Erasure,
Darondo,
The Misunderstood,
Marc Romboy vs. Booka Shade,
Ituana,
kango's stein massive,
Lalann,
Todd Terry,
New Order,
Shuggie Otis,
Q65,
Bill Near,
The Smoke,
Mad Mike,
Schoolly D,
Con Funk Shun,
Dead Boys,
Television Personalities,
Toni Rubio,
Camberwell Now,
the Normal,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.