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 Philippines and from Taipei.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1960 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Mexico City 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 theremin 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 The Young Rascals to the jazz 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 The Victims. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Derrick May 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Maurizio,
Agitation Free,
Sound Behaviour,
Tears for Fears,
Aural Exciters,
Icehouse,
Crash Course in Science,
Teenage Jesus and the Jerks,
Mandrill,
T.S.O.L.,
Derrick May,
The Fire Engines,
Fad Gadget,
Cabaret Voltaire,
Radiopuhelimet,
Blake Baxter,
DNA,
Crispian St. Peters,
Black Bananas,
Tubeway Army,
Ultramagnetic MC's,
Panda Bear,
Minny Pops,
Sandy B,
The Sound,
Bootsy Collins,
Gil Scott Heron,
Girls At Our Best!,
Shoche,
Deadbeat,
Country Teasers,
Unwound,
Trumans Water,
This Heat,
Electric Prunes,
Cal Tjader,
Robert Görl,
Neil Young & Crazy Horse,
Boz Scaggs,
The Red Krayola,
Godley & Creme,
Flamin' Groovies,
The Smiths,
Glambeats Corp.,
Country Joe & The Fish,
Pulsallama,
The Cowsills,
Kas Product,
Sad Lovers and Giants,
Interpol,
The Standells,
Lizzy Mercier Descloux,
Lebanon Hanover,
Y Pants,
Tres Demented,
The Remains,
New Age Steppers,
Model 500,
Banda Bassotti,
Basic Channel,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.