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 Tonga and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Accra 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Nas to the dance 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 Rufus Thomas. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Joey Negro,
The Barracudas,
Hoover,
Gil Scott-Heron & Brian Jackson,
Rosa Yemen,
Joy Division,
Dark Day,
Radio Birdman,
Absolute Body Control,
Minny Pops,
Spandau Ballet,
The Music Machine,
The Men They Couldn't Hang,
Parry Music,
Bang on a Can All-Stars,
Marine Girls,
Can,
Sister Nancy,
Terry Callier,
Half Japanese,
Accadde A,
Sunsets and Hearts,
Alphaville,
The Gap Band,
Second Layer,
Joensuu 1685,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lonnie Liston Smith,
Be Bop Deluxe,
Black Sheep,
Oneida,
Pantaleimon,
Alison Limerick,
The Sound,
Kenny Larkin,
UT,
Grandmaster Flash and the Furious Five,
Lungfish,
John Cale,
Peter Gordon & Love of Life Orchestra,
The Moody Blues,
Blossom Toes,
Kas Product,
Louis and Bebe Barron,
World's Most,
Marshall Jefferson,
Fad Gadget,
Massinfluence,
Andrew Ashong & Theo Parrish,
Kool Moe Dee,
Bootsy Collins,
The Fortunes,
Kevin Saunderson,
Con Funk Shun,
The Associates,
Barbara Tucker,
MDC,
Index,
the Bar-Kays,
The Remains,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.