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 Indonesia and from Seoul.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and New York.
I'm losing my edge to the art-school Manila 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Black Sheep to the jazz kids.
I played it at Trash.
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 Deadbeat. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal disco 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Subhumans,
Minnie Riperton,
Lou Reed & John Cale,
Quadrant,
Aaron Thompson,
Index,
Sly & The Family Stone,
Drexciya,
Fatback Band,
Dave Gahan,
Ice-T,
Khruangbin,
Sex Pistols,
Dorothy Ashby,
Zero Boys,
Section 25,
John Coltrane,
The Blackbyrds,
The Neon Judgement,
Malaria!,
Dead Boys,
Camberwell Now,
Ronan,
Quantec,
the Association,
Fad Gadget,
The Seeds,
Smog,
the Human League,
Monks,
Sugar Minott,
Amon Düül,
Marshall Jefferson,
Jerry's Kids,
Eric Dolphy,
Country Joe & The Fish,
Throbbing Gristle,
Rotary Connection,
Marine Girls,
Moby Grape,
The J.B.'s,
The Gap Band,
Supertramp,
Soft Machine,
The Toasters,
Lungfish,
Pierre Henry,
Warren Ellis,
Eddi Front,
Ossler,
Glambeats Corp.,
Mr. Review,
Q and Not U,
Darondo,
Faust,
Man Parrish,
Scott Walker,
Gil Scott Heron,
Cymande,
Don Cherry,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.