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 Marshall Islands and from Accra.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Tehran 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin 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 Underground Resistance to the grunge kids.
I played it at the Spitz.
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 PIL. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Amon Düül II,
Minnie Riperton,
Richard Hell and the Voidoids,
Rosa Yemen,
a-ha,
Index,
Agent Orange,
Robert Görl,
Scion,
Gabor Szabo,
the Soft Cell,
The Angels of Light,
Black Sheep,
Gil Scott Heron,
Laurel Aitken,
John Coltrane,
Kerrie Biddell,
The Moody Blues,
the Germs,
Oneida,
Wire,
Silicon Teens,
U.S. Maple,
The Vogues,
Joe Finger,
Ash Ra Tempel,
Liaisons Dangereuses,
Manfred Mann's Earth Band,
David McCallum,
X-102,
The Mighty Diamonds,
Bang On A Can,
Khruangbin,
Andrew Hill,
The Sound,
Arthur Verocai,
Isaac Hayes,
Organ,
James Chance & The Contortions,
Audionom,
Notorious BIG live in Amsterdam,
Fatback Band,
Sarah Menescal,
Bush Tetras,
The Skatalites,
The Doors,
Sister Nancy,
Little Man,
The Residents,
Icehouse,
The Dave Clark Five,
Jerry's Kids,
Essential Logic,
Red Lorry Yellow Lorry,
Kayak,
Lyres,
Lizzy Mercier Descloux,
Eve St. Jones,
The Last Poets,
Carl Craig,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.