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 Burundi and from Stockholm.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Portland and Taipei.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Can 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Man Parrish,
Zero Boys,
The Neon Judgement,
Juan Atkins,
The Electric Prunes,
Frankie Knuckles,
The Toasters,
Ponytail,
The Motions,
Todd Rundgren,
Moebius,
Pere Ubu,
Tears for Fears,
Boredoms,
Ralphi Rosario,
The Busters,
Black Pus,
Gil Scott Heron,
Matthew Halsall,
Marine Girls,
Symarip,
New York Dolls,
Rowland S Howard / Lydia Lunch,
The Walker Brothers,
Unwound,
Harpers Bizarre,
Harmonia,
Brass Construction,
Public Enemy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mars,
Leonard Cohen,
Deepchord,
Gastr Del Sol,
Lou Reed & Metallica,
Los Fastidios,
Niagra,
Rosa Yemen,
Amon Düül II,
Rod Modell,
the Bar-Kays,
Kings Of Tomorrow,
8 Eyed Spy,
Danielle Patucci,
Wighnomy Brothers & Robag Wruhme,
Brick,
Girls At Our Best!,
The Residents,
Eddi Front,
Marmalade,
Jacob Miller,
Dorothy Ashby,
Technova,
The Index,
FM Einheit,
Pantaleimon,
The Mighty Diamonds,
The Sound,
Lalo Schifrin,
Depeche Mode,
Black Moon, Black Moon, Black Moon, Black Moon.
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.