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 Slovakia and from Philadelphia.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Milan 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Amazonics to the electroclash kids.
I played it at the Spitz.
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 London Community Gospel Choir. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Liaisons Dangereuses,
Iggy Pop,
Qualms,
Dr. Dre and Snoop Doggy Dog,
James Chance & The Contortions,
The Index,
It's A Beautiful Day,
The Sonics,
Roxy Music,
Scion,
Cabaret Voltaire,
Metal Thangz,
The Gladiators,
Art Ensemble Of Chicago,
Moss Icon,
Second Layer,
Sällskapet,
Rekid,
Juan Atkins,
Marc Romboy vs. Booka Shade,
Intrusion,
China Crisis,
E-Dancer,
Freddie Wadling,
The Blackbyrds,
The West Coast Pop Art Experimental Band,
The Neon Judgement,
Neil Young,
Teenage Jesus and the Jerks,
Charles Mingus,
Delta 5,
Unwound,
Thee Headcoats,
Quadrant,
Peter & Gordon,
David Bowie,
PIL,
Lebanon Hanover,
DJ Style,
Notorious Big And Bone Thugs,
T.S.O.L.,
Radio Birdman,
Kurtis Blow,
Röyhkä ja Rättö ja Lehtisalo,
Steve Hackett,
Suburban Knight,
The Fire Engines,
World's Most,
Connie Case,
Alison Limerick,
Louis and Bebe Barron,
Minutemen,
Yusef Lateef,
EPMD,
Schoolly D,
Angels of Light & Akron/Family,
Rites of Spring,
Don Cherry,
Maurizio,
Grandmaster Flash,
Shoche,
MC5,
The Stooges, The Stooges, The Stooges, The Stooges.
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.