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 Egypt and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Lille 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Accadde A to the funk kids.
I played it at the Astoria.
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 Donald Byrd. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Von Mondo,
New York Dolls,
Sällskapet,
Ultramagnetic MC's,
Minor Threat,
Bluetip,
Roxette,
Gil Scott Heron,
Fatback Band,
Sonny Sharrock,
Cameo,
Supertramp,
Cal Tjader,
The Residents,
Pylon,
Oneida,
The Techniques,
Mission of Burma,
Andrew Hill,
Urselle,
AZ,
Pole,
Circle Jerks,
Half Japanese,
Porter Ricks,
Joensuu 1685,
the Sonics,
Ronan,
Cybotron,
The New Christs,
the Swans,
World's Most,
UT,
Maleditus Sound,
Nico,
Mark Hollis,
Spandau Ballet,
The Men They Couldn't Hang,
The Names,
Kaleidoscope,
The Pop Group,
Accadde A,
Todd Rundgren,
The Invisible,
Fela Kuti,
The Cure,
The Sound,
Thinking Fellers Union Local 282,
Easy Going,
Pierre Henry,
The Doors,
Ralphi Rosario,
Gang Green,
Josef K,
Neil Young,
Nick Fraelich,
Rowland S Howard / Lydia Lunch,
Davy DMX,
Arab on Radar,
The Smiths,
Grandmaster Flash and the Furious Five,
Wire, Wire, Wire, Wire.
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.