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 Nicaragua and from Shanghai.
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 1964 to 1974.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Chic practice in a loft in New York.
I was working on the snare 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 Pantytec to the rap 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 A Flock of Seagulls. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Model 500,
The Fall,
B.T. Express,
Stiv Bators,
Wighnomy Brothers & Robag Wruhme,
Bobby Womack,
Bootsy Collins,
Pierre Henry,
Rhythm & Sound,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ornette Coleman,
Marcia Griffiths,
Fela Kuti,
Letta Mbulu,
John Holt,
Radiohead,
Gastr Del Sol,
Andrew Ashong & Theo Parrish,
Grauzone,
Negative Approach,
Pet Shop Boys,
Crispian St. Peters,
Al Stewart,
Ultra Naté,
Todd Rundgren,
Au Pairs,
Ronnie Foster,
Unwound,
Joe Finger,
Rapeman,
Los Fastidios,
the Germs,
Notorious BIG live in Amsterdam,
The Motions,
Panda Bear,
Dennis Brown,
Oblivians,
Mr. Review,
Second Layer,
Morten Harket,
Eric Dolphy,
The Golliwogs,
Aloha Tigers,
The Detroit Cobras,
Ash Ra Tempel,
Avey Tare's Slasher Flicks,
Chris & Cosey,
Depeche Mode,
Visage,
Marmalade,
Kool G Rap & DJ Polo,
Nick Fraelich,
Patti Smith,
a-ha,
Nas,
Blossom Toes,
The Flesh Eaters,
Eve St. Jones,
Bronski Beat,
Blake Baxter,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.