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 Ghana and from Taipei.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Houston 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Lucky Dragons to the crunk kids.
I played it at the Hacienda.
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 The Kinks. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Eve St. Jones 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Radiohead,
The Count Five,
Hasil Adkins,
The Busters,
Donald Byrd,
Model 500,
L. Decosne,
the Association,
The Flesh Eaters,
Reagan Youth,
Roy Ayers,
Chris & Cosey,
Jimmy McGriff,
Siglo XX,
a-ha,
David Axelrod,
The Fugs,
Kayak,
The Names,
Fad Gadget,
Letta Mbulu,
Jacob Miller,
Howard Jones,
Johnny Clarke,
The Smiths,
Robert Hood,
Monolake,
Country Joe & The Fish,
Tropical Tobacco,
48th St. Collective,
Black Flag,
Accadde A,
Darondo,
Tom Boy,
Gichy Dan,
Wighnomy Brothers & Robag Wruhme,
Ultramagnetic MC's,
The Fuzztones,
Gian Franco Pienzio,
Soft Cell,
Barrington Levy,
Robert Wyatt,
Joey Negro,
Babytalk,
Amon Düül II,
Bobby Hutcherson,
Guru Guru,
R.M.O.,
Groovy Waters,
Toni Rubio,
Susan Cadogan,
Man Parrish,
The Moleskins,
The Men They Couldn't Hang,
Mary Jane Girls,
Rekid,
Bootsy Collins,
Organ,
Silicon Teens,
Bang On A Can,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.