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 Iraq and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Portland 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 Human League practice in a loft in Sheffield.
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 Livin' Joy to the jazz kids.
I played it at CBGB's.
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 Ultramagnetic MC's tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Pierre Henry,
Avey Tare's Slasher Flicks,
Magazine,
The Pop Group,
Pharoah Sanders,
Lalo Schifrin,
Model 500,
Section 25,
Dead Boys,
Yazoo,
The Cowsills,
Second Layer,
The Smoke,
JFA,
UT,
Ornette Coleman,
Joensuu 1685,
AZ,
the Bar-Kays,
Kurtis Blow,
Urselle,
Roxette,
Scion,
Ponytail,
Arab on Radar,
Cabaret Voltaire,
Make Up,
Morten Harket,
the Germs,
Wighnomy Brothers & Robag Wruhme,
John Foxx,
Black Bananas,
Public Image Ltd.,
The Electric Prunes,
Maurizio,
T. Rex,
Monolake,
Heavy D & The Boyz,
Ultramagnetic MC's,
The Mojo Men,
Isaac Hayes,
Bootsy's Rubber Band,
The Blues Magoos,
Animal Collective,
DeepChord presents Echospace,
Ultra Naté,
Basic Channel,
Country Teasers,
Icehouse,
Ituana,
Röyhkä ja Rättö ja Lehtisalo,
Manfred Mann's Earth Band,
Justin Hinds & The Dominoes,
Nils Olav,
Louis and Bebe Barron,
Sex Pistols,
Q and Not U,
Cameo,
H. Thieme,
The West Coast Pop Art Experimental Band,
The New Christs,
The Beau Brummels,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.