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 Jamaica and from Columbus.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Mexico City 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 June Days to the electroclash kids.
I played it at the Crocodile.
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 Pere Ubu. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Lou Reed 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
The Detroit Cobras,
UT,
Severed Heads,
Clear Light,
MC5,
Stiv Bators,
Colin Newman,
Gil Scott Heron,
Bill Wells,
Röyhkä ja Rättö ja Lehtisalo,
Harpers Bizarre,
Q65,
PIL,
Buzzcocks,
Nas,
Niagra,
Isaac Hayes,
Bootsy Collins,
Ronnie Foster,
Oblivians,
Television,
The Tremeloes,
Ash Ra Tempel,
Desert Stars,
Gary Puckett & The Union Gap,
The Birthday Party,
Gichy Dan,
E-Dancer,
Nik Kershaw,
Bobby Byrd,
Josef K,
Duran Duran,
Khruangbin,
De La Soul & Jungle Brothers,
Pulsallama,
The Victims,
Anthony Braxton,
Lou Christie,
Stereo Dub,
Theoretical Girls,
The Names,
The Busters,
Aswad,
Quando Quango,
Minutemen,
Rosa Yemen,
Lindisfarne,
Captain Beefheart & His Magic Band,
Justin Hinds & The Dominoes,
Marcia Griffiths,
Parry Music,
Barrington Levy,
Mantronix,
Maleditus Sound,
Country Joe & The Fish,
Sunsets and Hearts,
Rahsaan Roland Kirk,
Schoolly D,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.