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 Peru and from Portland.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Cairo 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 linndrum 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 The Smoke to the grunge kids.
I played it at the Hacienda.
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 JFA. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Oneida 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen 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?
The Raincoats,
Minny Pops,
Q and Not U,
Captain Beefheart & His Magic Band,
Panda Bear,
Ituana,
Minutemen,
The Saints,
Jeru the Damaja,
John Coltrane,
Theoretical Girls,
Fear,
Röyhkä ja Rättö ja Lehtisalo,
The Standells,
Ultra Naté,
The Peanut Butter Conspiracy,
Monks,
The Searchers,
Big Daddy Kane,
The Sound,
Notorious BIG live in Amsterdam,
Pierre Henry,
Selector Dub Narcotic,
Anthony Braxton,
Nirvana,
Roxette,
Heavy D & The Boyz,
Jacques Brel,
Girls At Our Best!,
Lee Hazlewood,
Johnny Osbourne,
Avey Tare,
Graham Central Station,
Barclay James Harvest,
Strawberry Alarm Clock,
Funkadelic,
Nick Fraelich,
Pharaoh Sanders and the Fire Engines,
10cc,
Arab on Radar,
Echospace,
Mars,
Marc Romboy vs. Booka Shade,
One Last Wish,
Neu!,
Crispy Ambulance,
Patti Smith,
Zero Boys,
The Remains,
Accadde A,
Nation of Ulysses,
Country Joe & The Fish,
James White and The Blacks,
Soul II Soul,
James Chance & The Contortions,
Black Flag,
The Fire Engines,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.