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 Fiji and from Portland.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Cairo.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 Stetsasonic to the techno kids.
I played it at CBGB's.
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 Howard Jones. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Adolescents,
The Wake,
The Vogues,
Andrew Ashong & Theo Parrish,
Heavy D & The Boyz,
Magazine,
The Offenders,
Mr. Review,
FM Einheit,
Saccharine Trust,
Soul II Soul,
Tim Buckley,
Newcleus,
EPMD,
Neil Young & Crazy Horse,
Kenny Larkin,
Jeff Lynne,
Gichy Dan,
Joyce Sims,
Stiv Bators,
Matthew Bourne,
Second Layer,
Deadbeat,
Marshall Jefferson,
Young Marble Giants,
The Raincoats,
UT,
Main Source,
The Evens,
Beasts of Bourbon,
Eyeless In Gaza,
Pulsallama,
Intrusion,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rotary Connection,
Arthur Verocai,
Can,
Robert Görl,
Dawn Penn,
The Chocolate Watch Band,
Severed Heads,
Connie Case,
Nick Fraelich,
The Happenings,
Index,
Maleditus Sound,
Sällskapet,
Camron Feat. Jay Z And Juelz,
Strawberry Alarm Clock,
Liaisons Dangereuses,
John Cale,
Rapeman,
Traffic Nightmare,
Piero Umiliani,
Kerrie Biddell,
The Barracudas,
Terrestrial Tones,
Faraquet,
Amazonics,
Crooked Eye,
Pantaleimon,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.