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 Korea North and from Manila.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Houston 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Drexciya to the rock kids.
I played it at the Hacienda.
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 Pantytec. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every The Offenders 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Little Man,
Laurel Aitken,
X-101,
Arab on Radar,
E-Dancer,
the Normal,
Grandmaster Flash and the Furious Five,
R.M.O.,
The Wake,
Bang On A Can,
The Fortunes,
Bang on a Can All-Stars,
The Birthday Party,
Silicon Teens,
Sam Rivers,
Jawbox,
Radio Birdman,
Scott Walker,
Bob Dylan,
Jeru the Damaja,
John Holt,
The Men They Couldn't Hang,
The Grass Roots,
Kango’s Stein Massive,
Deakin,
Zapp,
Sunsets and Hearts,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scientists,
The Beau Brummels,
Sun Ra,
Gang of Four,
Parry Music,
Todd Rundgren,
Rhythim Is Rhythim,
Mad Mike,
Au Pairs,
Rites of Spring,
Terry Callier,
Drive Like Jehu,
The Fuzztones,
the Association,
La Düsseldorf,
Gary Puckett & The Union Gap,
Supertramp,
The Vogues,
Robert Wyatt,
Be Bop Deluxe,
Tubeway Army,
Alison Limerick,
Major Organ And The Adding Machine,
Lower 48,
Brass Construction,
Babytalk,
Peter & Gordon,
Pantytec,
Avey Tare & Kría Brekkan,
Procol Harum,
MC5,
Moby Grape,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.