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 Austria and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Lyon and Madrid.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Bar-Kays to the funk kids.
I played it at the Astoria.
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 Be Bop Deluxe. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal techno 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Tropical Tobacco,
Reagan Youth,
Motorama,
Jacob Miller,
Sun Ra Arkestra,
Lungfish,
OOIOO,
Jeff Mills,
Franke,
Lou Reed & John Cale,
The Grass Roots,
Echospace,
Minny Pops,
Bob Dylan,
Television Personalities,
Man Parrish,
Avey Tare,
the Sonics,
Derrick Morgan,
the Human League,
Tim Buckley,
Altered Images,
Infiniti,
Laurel Aitken,
Negative Approach,
Spoonie Gee,
Bronski Beat,
John Lydon,
Echo & the Bunnymen,
Ash Ra Tempel,
Siglo XX,
The Mummies,
Saccharine Trust,
D'Angelo,
Erykah Badu,
Lafayette Afro Rock Band,
Icehouse,
Oneida,
Crooked Eye,
The Pop Group,
The Names,
Boz Scaggs,
Robert Görl,
Boogie Down Productions,
Mark Hollis,
Dorothy Ashby,
Ultimate Spinach,
Wally Richardson,
Gang Starr,
Henry Cow,
Hoover,
Sam Rivers,
Country Teasers,
Barrington Levy,
Dennis Brown,
Lonnie Liston Smith,
Jawbox,
Thinking Fellers Union Local 282,
Stetsasonic,
Janne Schatter,
Marc Romboy vs. Booka Shade,
Delta 5,
The Moleskins,
Deepchord, Deepchord, Deepchord, Deepchord.
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.