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 Liechtenstein and from Bremen.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the mellotron 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 Mad Mike to the rap kids.
I played it at Trash.
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 Joensuu 1685. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every L. Decosne 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Visage,
Tropical Tobacco,
Bang On A Can,
Deutsch Amerikanische Freundschaft,
Gregory Isaacs,
Brothers Johnson,
The Last Poets,
Pussy Galore,
Tim Buckley,
Bobbi Humphrey,
Black Flag,
Robert Hood,
Funky Four + One,
Fluxion,
Donny Hathaway,
Siouxsie and the Banshees,
Goldenarms,
Yazoo,
Main Source,
Average White Band,
Maleditus Sound,
Absolute Body Control,
Ornette Coleman,
Jandek,
Infiniti,
Kerrie Biddell,
DJ Style,
Justin Hinds & The Dominoes,
Flipper,
Kaleidoscope,
Susan Cadogan,
Anthony Braxton,
The Royal Family And The Poor,
Echospace,
Cal Tjader,
Dave Gahan,
Quantec,
The Golliwogs,
Severed Heads,
The Peanut Butter Conspiracy,
Gerry Rafferty,
Rekid,
Pylon,
The Selecter,
The Doors,
Sunsets and Hearts,
Kurtis Blow,
Dark Day,
James Chance & The Contortions,
Neil Young & Crazy Horse,
Tubeway Army,
Unrelated Segments,
The Slits,
a-ha,
The New Christs,
Yusef Lateef,
The Jesus and Mary Chain,
The Mummies,
Gang of Four,
A Flock of Seagulls,
Interpol, Interpol, Interpol, Interpol.
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.