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 Poland and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1970.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Donald Fagen 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 American Breed 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 Art Ensemble Of Chicago. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Erasure,
Negative Approach,
the Sonics,
Ultramagnetic MC's,
Jawbox,
Oblivians,
B.T. Express,
Index,
Blossom Toes,
Throbbing Gristle,
The Fall,
Soul Sonic Force,
Cybotron,
the Bar-Kays,
Grandmaster Flash,
Eurythmics,
Super Lover Cee & Casanova Rud,
The Associates,
Cymande,
David McCallum,
Ken Boothe,
Girls At Our Best!,
Masters at Work,
These Immortal Souls,
Sarah Menescal,
The West Coast Pop Art Experimental Band,
The Skatalites,
The Doors,
Robert Wyatt,
Sam Rivers,
Livin' Joy,
Drive Like Jehu,
Archie Shepp,
Tropical Tobacco,
EPMD,
John Holt,
L. Decosne,
Babytalk,
Eddi Front,
Harpers Bizarre,
Gang Green,
The Human League,
Neil Young & Crazy Horse,
Country Joe & The Fish,
Smog,
The Happenings,
John Cale,
Theoretical Girls,
Eli Mardock,
Ohio Players,
Eric Copeland,
Interpol,
Popol Vuh,
Urselle,
Loose Ends,
The American Breed,
Althea and Donna,
The Litter,
Ludus,
Kayak,
The Electric Prunes,
Avey Tare & Kría Brekkan,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.