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 Colombia and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Mumbai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Slackers to the disco kids.
I played it at the Troubador.
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 Black Pus. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal grime 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 a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Rhythm & Sound,
Icehouse,
Ultravox,
Marvin Gaye,
The Toasters,
June of 44,
Joe Finger,
Quadrant,
China Crisis,
Suburban Knight,
Kango’s Stein Massive,
Moss Icon,
Thompson Twins,
Qualms,
Red Lorry Yellow Lorry,
Maleditus Sound,
Alison Limerick,
Tropical Tobacco,
Jeru the Damaja,
The Fugs,
Aswad,
Mantronix,
The Seeds,
Electric Light Orchestra,
The West Coast Pop Art Experimental Band,
Royal Trux,
Amazonics,
London Community Gospel Choir,
Barclay James Harvest,
Donny Hathaway,
Al Stewart,
Pussy Galore,
Wally Richardson,
Slick Rick,
Lucky Dragons,
Grandmaster Flash and the Furious Five,
Rites of Spring,
Jeff Mills,
Ponytail,
The Cowsills,
The Sound,
Pete Rock & C.L. Smooth,
Josef K,
Marmalade,
Crooked Eye,
Major Organ And The Adding Machine,
Black Moon,
Sight & Sound,
The Chocolate Watch Band,
The Busters,
The Trojans,
Negative Approach,
Notorious Big And Bone Thugs,
Röyhkä ja Rättö ja Lehtisalo,
Minnie Riperton,
The Cramps,
Lonnie Liston Smith,
Cybotron,
The Velvet Underground,
Motorama,
Basic Channel,
Cal Tjader,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.