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 Peru and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1976.
I'm losing my edge.
To all the kids in Calgary and Woodstock.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when Lou Reed 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 Frankie Knuckles to the punk 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 Duran Duran. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Qualms 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 '50s 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 Ituana record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
L. Decosne,
Jacob Miller,
Kerri Chandler,
The Toasters,
Second Layer,
The Last Poets,
The Litter,
Hasil Adkins,
Beasts of Bourbon,
Ash Ra Tempel,
Roxette,
The West Coast Pop Art Experimental Band,
Traffic Nightmare,
Girls At Our Best!,
Joe Finger,
Skaos,
Terry Callier,
Sight & Sound,
Lakeside,
the Association,
Big Daddy Kane,
Ajijia Myrayebe,
The Gun Club,
Bush Tetras,
Marmalade,
The Standells,
Cluster,
Smog,
Moss Icon,
Gang Gang Dance,
Popol Vuh,
Subhumans,
B.T. Express,
Nik Kershaw,
Sällskapet,
Nation of Ulysses,
The Slackers,
The New Christs,
Lou Reed & Metallica,
The Grass Roots,
Ponytail,
Joe Smooth,
Todd Rundgren,
Mr. Review,
Man Eating Sloth,
Flash Fearless,
Wire,
Outsiders,
Lonnie Liston Smith,
Soft Cell,
Godley & Creme,
Intrusion,
Henry Cow,
Vainqueur,
Organ,
Sad Lovers and Giants,
Jeru the Damaja,
Dual Sessions,
Lizzy Mercier Descloux,
Don Cherry,
The Offenders,
R.M.O., R.M.O., R.M.O., R.M.O..
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.