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 Senegal and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1970.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Sonic Youth to the punk kids.
I played it at Cafe Wha.
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 Juan Atkins. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal punk 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 a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Eli Mardock,
Rakim,
Major Organ And The Adding Machine,
Barbara Tucker,
Sarah Menescal,
The Blues Magoos,
Gong,
Liaisons Dangereuses,
The Residents,
Little Man,
Traffic Nightmare,
The Flesh Eaters,
Camouflage,
Stereo Dub,
The Slits,
The Techniques,
Thee Headcoats,
the Sonics,
Boogie Down Productions,
Lebanon Hanover,
Bang on a Can All-Stars,
Freddie Wadling,
The Sonics,
Cameo,
Delon & Dalcan,
Super Lover Cee & Casanova Rud,
New York Dolls,
Hardrive,
Louis and Bebe Barron,
Grandmaster Flash and the Furious Five,
Black Bananas,
Ice-T,
The Modern Lovers,
Brick,
Pantytec,
Bluetip,
Half Japanese,
Arthur Verocai,
The Black Dice,
Albert Ayler,
Lizzy Mercier Descloux,
Cabaret Voltaire,
Model 500,
Drive Like Jehu,
Skaos,
Fela Kuti,
Aswad,
Groovy Waters,
Eden Ahbez,
The Divine Comedy,
Young Marble Giants,
Maleditus Sound,
The Saints,
The Tremeloes,
Darondo,
The Barracudas,
Terrestrial Tones,
Hoover,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.