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 Argentina and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Arthur Verocai to the dance kids.
I played it at the Astoria.
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 Ice-T. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Sexual Harrassment 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 '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Derrick May,
Bobbi Humphrey,
Gang Gang Dance,
Can,
Kevin Saunderson,
The Cowsills,
Fear,
Justin Hinds & The Dominoes,
Jesper Dahlbäck,
The Barracudas,
Tim Buckley,
Grandmaster Flash and the Furious Five,
Albert Ayler,
The Mummies,
The Angels of Light,
Maurizio,
Deakin,
Country Joe & The Fish,
R.M.O.,
Shuggie Otis,
Moby Grape,
Agent Orange,
Slick Rick,
The Misunderstood,
Joy Division,
Isaac Hayes,
Bill Wells,
Eli Mardock,
Faraquet,
Sonic Youth,
Suicide,
Nik Kershaw,
Curtis Mayfield,
Roxette,
Jacques Brel,
Q and Not U,
Orchestral Manoeuvres in the Dark,
Organ,
Rhythm & Sound,
Iggy Pop,
Eve St. Jones,
Joe Finger,
Sun City Girls,
The Real Kids,
Cymande,
The United States of America,
Flamin' Groovies,
Don Cherry,
Mary Jane Girls,
Toni Rubio,
Lalo Schifrin,
Schoolly D,
Alton Ellis,
Liaisons Dangereuses,
Sex Pistols,
The Selecter,
Reuben Wilson,
Porter Ricks,
Rhythim Is Rhythim,
Mr. Review,
Yellowson,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.