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 Ghana and from Manchester.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
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 1973 at the first Television practice in a loft in New York.
I was working on the snare 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 James White and The Blacks to the dance kids.
I played it at the 40 Watt.
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 Masters at Work. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Lou Reed,
Porter Ricks,
Liliput,
Jeru the Damaja,
Bill Near,
Talk Talk,
FM Einheit,
Neil Young,
Hoover,
Whodini,
The Shadows of Knight,
The Sisters of Mercy,
Shoche,
The Real Kids,
Gichy Dan,
Symarip,
Vaughan Mason & Crew,
Connie Case,
The Seeds,
Lou Christie,
Swell Maps,
The Blackbyrds,
The Men They Couldn't Hang,
New Order,
In Retrospect,
Patti Smith,
The Selecter,
Mantronix,
Yellowson,
Warren Ellis,
The Blues Magoos,
Rotary Connection,
The Beau Brummels,
The Human League,
Young Marble Giants,
Lonnie Liston Smith,
Hasil Adkins,
Marshall Jefferson,
The Wake,
The Buckinghams,
Don Cherry,
Echo & the Bunnymen,
Nik Kershaw,
Eric B and Rakim,
KRS-One,
Alison Limerick,
K-Klass,
Angels of Light & Akron/Family,
It's A Beautiful Day,
Lizzy Mercier Descloux,
Animal Collective,
Pantytec,
Selector Dub Narcotic,
The Remains,
These Immortal Souls,
The Chocolate Watch Band,
Clear Light,
Kevin Saunderson,
Unrelated Segments,
Prince Buster,
Aural Exciters,
Livin' Joy,
Spandau Ballet,
Skriet,
Ronan, Ronan, Ronan, Ronan.
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.