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 Belarus and from Accra.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1978.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 snare sounds with much patience.
I was there when Lou Reed 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 Easy Going to the funk kids.
I played it at the Troubador.
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 Johnny Osbourne. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal rap 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Animal Collective,
Maleditus Sound,
Gang Gang Dance,
Lightning Bolt,
Blake Baxter,
Carl Craig,
Gian Franco Pienzio,
The Fortunes,
Angry Samoans,
Anthony Braxton,
David Axelrod,
The Gun Club,
Silicon Teens,
Gary Puckett & The Union Gap,
The Smiths,
James White and The Blacks,
Jacques Brel,
B.T. Express,
Interpol,
The Gladiators,
Prince Buster,
This Heat,
Severed Heads,
Ituana,
Funky Four + One,
Electric Prunes,
Judy Mowatt,
The Searchers,
Notorious BIG live in Amsterdam,
John Lydon,
Von Mondo,
Kaleidoscope,
The Stooges,
Black Bananas,
Scientists,
Rowland S Howard / Lydia Lunch,
John Coltrane,
Porter Ricks,
Quadrant,
Ultra Naté,
The Jesus and Mary Chain,
Bush Tetras,
Louis and Bebe Barron,
Dorothy Ashby,
The Angels of Light,
Underground Resistance,
Fugazi,
Thee Headcoats,
Nico,
Letta Mbulu,
Glenn Branca,
Joe Finger,
kango's stein massive,
Rotary Connection,
Oblivians,
Gang Green,
Japan,
Todd Rundgren,
The Mojo Men,
Traffic Nightmare,
Kings Of Tomorrow,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.