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 South Sudan and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in Milan and Sao Paulo.
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 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 Lou Reed 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 Normal to the rock kids.
I played it at the Crocodile.
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 Ultimate Spinach. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
The Monochrome Set,
Pere Ubu,
Avey Tare's Slasher Flicks,
Kerri Chandler,
Ash Ra Tempel,
Quando Quango,
Cheater Slicks,
John Foxx,
Amazonics,
Gil Scott-Heron and Jamie xx,
The Saints,
Arab on Radar,
Angels of Light & Akron/Family,
Avey Tare & Kría Brekkan,
Aaron Thompson,
ABC,
Tres Demented,
Thinking Fellers Union Local 282,
The Sound,
Interpol,
Ultravox,
Wally Richardson,
H. Thieme,
Bobbi Humphrey,
Yazoo,
Brass Construction,
The Cure,
Vainqueur,
AZ,
Bronski Beat,
Todd Terry,
Crispy Ambulance,
The Motions,
Section 25,
Lindisfarne,
Mo-Dettes,
World's Most,
Aural Exciters,
China Crisis,
Hasil Adkins,
X-Ray Spex,
X-102,
Maurizio,
Gerry Rafferty,
Motorama,
A Flock of Seagulls,
Louis and Bebe Barron,
The Happenings,
Sun Ra Arkestra,
Parry Music,
Soft Machine,
Pharoah Sanders,
Nation of Ulysses,
Lucky Dragons,
The Standells,
Supertramp,
Japan,
Roxy Music,
Masters at Work,
Chrome, Chrome, Chrome, Chrome.
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.