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 Guinea and from Cairo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Accra and Taipei.
I'm losing my edge to the art-school Houston 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet 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 Brand Nubian to the techno kids.
I played it at Cafe Wha.
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 Crispian St. Peters. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal dance 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
The Monks,
Infiniti,
Red Lorry Yellow Lorry,
Lyres,
Shoche,
Ultra Naté,
Gary Puckett & The Union Gap,
China Crisis,
Deepchord,
Ultravox,
Lower 48,
Oppenheimer Analysis,
Supertramp,
Pierre Henry,
The Flesh Eaters,
Moebius,
Vaughan Mason & Crew,
The Young Rascals,
Susan Cadogan,
Tomorrow,
Stockholm Monsters,
The Buckinghams,
T. Rex,
Soft Cell,
Los Fastidios,
Heaven 17,
The Wake,
The Remains,
Soul II Soul,
Television,
Little Man,
Gastr Del Sol,
Excepter,
Captain Beefheart & His Magic Band,
Aural Exciters,
Unrelated Segments,
Jandek,
Bush Tetras,
Laurel Aitken,
Suburban Knight,
Teenage Jesus and the Jerks,
Joe Smooth,
Slave,
The Sisters of Mercy,
Hasil Adkins,
New Order,
James Chance & The Contortions,
Amazonics,
Yellowson,
Scrapy,
Richard Hell and the Voidoids,
The Electric Prunes,
Notorious Big And Bone Thugs,
Jeff Mills,
Art Ensemble Of Chicago,
Alphaville,
Gil Scott-Heron & Brian Jackson,
The Leaves,
Mission of Burma, Mission of Burma, Mission of Burma, Mission of Burma.
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.