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 Venezuela and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Cairo 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 linndrum 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 Average White Band to the rock kids.
I played it at Trash.
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 James Chance & The Contortions. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Terry Callier,
The Wake,
It's A Beautiful Day,
Eric B and Rakim,
The Motions,
Bang On A Can,
Jeru the Damaja,
Dr. Dre and Snoop Doggy Dog,
Boredoms,
Nico,
Newcleus,
Lou Reed & John Cale,
LL Cool J,
Altered Images,
Louis and Bebe Barron,
Roger Hodgson,
Unrelated Segments,
Brothers Johnson,
Colin Newman,
Josef K,
The Flesh Eaters,
Angry Samoans,
Lafayette Afro Rock Band,
Franke,
Isaac Hayes,
Juan Atkins,
Scan 7,
Los Fastidios,
Negative Approach,
Quando Quango,
Dennis Brown,
Andrew Hill,
Malaria!,
Kayak,
Roy Ayers Ubiquity,
Silicon Teens,
Eyeless In Gaza,
the Fania All-Stars,
Traffic Nightmare,
Black Flag,
Ituana,
Iggy Pop,
Liliput,
U.S. Maple,
The Smiths,
The New Christs,
Leonard Cohen,
Interpol,
June of 44,
Gil Scott-Heron and Jamie xx,
Slave,
The Vogues,
Bobbi Humphrey,
Susan Cadogan,
Major Organ And The Adding Machine,
Nick Cave & The Bad Seeds,
Lou Christie,
Blancmange,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.