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 Philippines and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school New York 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 theremin 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 Terrestrial Tones to the rap kids.
I played it at the Troubador.
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 Roxy Music. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Sun City Girls,
Sandy B,
The Gun Club,
Lucky Dragons,
The Flesh Eaters,
Eli Mardock,
Smog,
Soft Machine,
Von Mondo,
Iggy Pop,
Wings,
Black Moon,
The Smiths,
Marine Girls,
Soft Cell,
Gary Puckett & The Union Gap,
Lizzy Mercier Descloux,
Louis and Bebe Barron,
Gregory Isaacs,
Roxy Music,
Sparks,
The Human League,
Roy Ayers Ubiquity,
Oblivians,
Gastr Del Sol,
Pagans,
Silicon Teens,
Outsiders,
Steve Hackett,
The Kinks,
Sam Rivers,
Anthony Braxton,
Barry Ungar,
Country Teasers,
Goldenarms,
Peter and Kerry,
Symarip,
Monks,
Wolf Eyes,
Arthur Verocai,
The Birthday Party,
Hardrive,
Bootsy Collins,
Barbara Tucker,
The Detroit Cobras,
Cabaret Voltaire,
Mary Jane Girls,
Rowland S Howard / Lydia Lunch,
The Dirtbombs,
The Moleskins,
Alice Coltrane,
Super Lover Cee & Casanova Rud,
Reuben Wilson,
Ice-T,
Ralphi Rosario,
Wire,
Sunsets and Hearts,
Graham Central Station,
Warsaw,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.