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 Colombia and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Milan 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Richard Hell and the Voidoids to the disco kids.
I played it at CBGB's.
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 Idris Muhammad. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
The Music Machine,
The Peanut Butter Conspiracy,
Pulsallama,
The Fugs,
The Zeros,
The Motions,
Gang Green,
Lucky Dragons,
The Moody Blues,
Arthur Verocai,
Jacob Miller,
The Doors,
Soul II Soul,
Jeff Mills,
Freddie Wadling,
Metal Thangz,
The Invisible,
Quantec,
Kauko Röyhkä ja Narttu,
Roxette,
Yusef Lateef,
Pantaleimon,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sex Pistols,
Silicon Teens,
Jeru the Damaja,
Soulsonic Force,
Lalann,
Sun Ra Arkestra,
Sparks,
The Names,
Rhythm & Sound,
Second Layer,
DJ Style,
Wally Richardson,
Magazine,
Young Marble Giants,
Danielle Patucci,
Sexual Harrassment,
Scrapy,
Peter and Kerry,
This Heat,
Rapeman,
Supertramp,
James White and The Blacks,
World's Most,
Aural Exciters,
Mars,
Radio Birdman,
Avey Tare's Slasher Flicks,
Slick Rick,
Jawbox,
Ice-T,
Dead Boys,
Maleditus Sound,
The Selecter,
Swell Maps,
Television,
48th St. Collective,
Underground Resistance,
The Remains,
Kenny Larkin,
The Saints, The Saints, The Saints, The Saints.
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.