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 Cuba and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Winnipeg.
I'm losing my edge to the art-school Mumbai 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 sitar 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 Lucky Dragons to the funk 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 Bar-Kays. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
The Fall,
Mission of Burma,
Altered Images,
Archie Shepp,
Joy Division,
Pierre Henry,
Gong,
Matthew Halsall,
Interpol,
Jeru the Damaja,
Bill Near,
Bang on a Can All-Stars,
The Busters,
Alphaville,
Adolescents,
The Mojo Men,
The Blues Magoos,
Eli Mardock,
Khruangbin,
The Fortunes,
PIL,
the Normal,
Darondo,
Rites of Spring,
John Holt,
Blossom Toes,
The Names,
Amon Düül,
Drive Like Jehu,
Amazonics,
Connie Case,
Peter Gordon & Love of Life Orchestra,
The Pretty Things,
Electric Prunes,
The Seeds,
Gil Scott-Heron and Jamie xx,
Newcleus,
Don Cherry,
The Wake,
John Lydon,
Bobby Hutcherson,
Bobby Byrd,
the Association,
Soulsonic Force,
Whodini,
The Flesh Eaters,
Hot Snakes,
Joe Smooth,
Sound Behaviour,
Stetsasonic,
The Techniques,
Procol Harum,
Pharaoh Sanders and the Fire Engines,
Fugazi,
Bang On A Can,
The Saints,
The Skatalites,
Avey Tare & Kría Brekkan,
Sparks,
Lakeside,
FM Einheit,
Average White Band,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.