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 Georgia and from Taipei.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 Echo & the Bunnymen to the grime kids.
I played it at Cafe Wha.
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 The Moleskins. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Alison Limerick 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
DJ Style,
Fat Boys,
The Fugs,
Fort Wilson Riot,
Los Fastidios,
Blancmange,
Hasil Adkins,
Niagra,
Strawberry Alarm Clock,
Bizarre Inc.,
Rhythm & Sound,
La Düsseldorf,
Audionom,
Con Funk Shun,
Sad Lovers and Giants,
Roy Ayers Ubiquity,
The Toasters,
Robert Wyatt,
Big Daddy Kane,
David Bowie,
Black Flag,
Livin' Joy,
Marine Girls,
Oblivians,
Glenn Branca,
The Happenings,
Gary Puckett & The Union Gap,
The Last Poets,
Fatback Band,
Ralphi Rosario,
Soulsonic Force,
LL Cool J,
Smog,
Moss Icon,
Guru Guru,
Nick Cave & The Bad Seeds,
Pet Shop Boys,
Mr. Review,
Don Cherry,
Scott Walker,
Wasted Youth,
Gil Scott-Heron & Brian Jackson,
The Royal Family And The Poor,
The Trojans,
Lafayette Afro Rock Band,
Joyce Sims,
Kaleidoscope,
Rufus Thomas,
The Monochrome Set,
Ohio Players,
Bauhaus,
The Raincoats,
Arab on Radar,
the Bar-Kays,
John Holt,
Tres Demented,
Das Ding,
Whodini,
Sunsets and Hearts,
Surgeon,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.