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 Canada and from Edmonton.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Toronto 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 oboe sounds with much patience.
I was there when Holger Czukay 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 David Axelrod to the jazz kids.
I played it at the Roxy.
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 Monks. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Los Fastidios 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 '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Wally Richardson,
Alton Ellis,
Tubeway Army,
The Blues Magoos,
The Litter,
Thompson Twins,
Shoche,
Eden Ahbez,
The Sisters of Mercy,
KRS-One,
Grey Daturas,
La Düsseldorf,
Barbara Tucker,
Franke,
Aaron Thompson,
Matthew Halsall,
World's Most,
Glambeats Corp.,
New York Dolls,
Major Organ And The Adding Machine,
8 Eyed Spy,
Subhumans,
The Vogues,
Graham Central Station,
Bob Dylan,
Kevin Saunderson,
One Last Wish,
Bluetip,
Henry Cow,
Bang on a Can All-Stars,
Stereo Dub,
Rhythm & Sound,
Rapeman,
Bad Manners,
Spoonie Gee,
Eric B and Rakim,
B.T. Express,
Deepchord,
48th St. Collective,
Oppenheimer Analysis,
Godley & Creme,
Oblivians,
Jacob Miller,
Icehouse,
Eurythmics,
Dawn Penn,
Nik Kershaw,
Sun City Girls,
Mr. Review,
The Neon Judgement,
Swell Maps,
Peter and Kerry,
Beasts of Bourbon,
The Velvet Underground,
The Techniques,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.