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 Oman and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school New York 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 sitar 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 Can to the punk kids.
I played it at Cafe Wha.
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 Max Romeo. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Graham Central Station 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 '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Peter & Gordon,
Sun Ra Arkestra,
Cal Tjader,
Roxy Music,
Gang Starr,
Cybotron,
Amon Düül II,
The Associates,
Deutsch Amerikanische Freundschaft,
June Days,
the Bar-Kays,
Reuben Wilson,
Sound Behaviour,
Moby Grape,
Gabor Szabo,
Alice Coltrane,
Black Sheep,
Magazine,
The Pop Group,
Unwound,
the Normal,
Kings Of Tomorrow,
Section 25,
The Star Department,
Popol Vuh,
Barclay James Harvest,
Barbara Tucker,
The Offenders,
Lee Hazlewood,
Ash Ra Tempel,
Fort Wilson Riot,
Gichy Dan,
Cabaret Voltaire,
Colin Newman,
Agitation Free,
Minor Threat,
Minnie Riperton,
Deakin,
The Red Krayola,
Procol Harum,
Kayak,
AZ,
The Trojans,
Scan 7,
Lucky Dragons,
Man Eating Sloth,
Rapeman,
8 Eyed Spy,
Bill Near,
The Evens,
Mandrill,
Altered Images,
Scott Walker + Sunn O))),
Captain Beefheart & His Magic Band,
Avey Tare & Kría Brekkan,
The Searchers,
Lizzy Mercier Descloux,
Kango’s Stein Massive,
The Golliwogs,
JFA,
Scrapy,
Loose Ends,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.