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 Greece and from Lagos.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Selector Dub Narcotic to the punk kids.
I played it at the Spitz.
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 Swans. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Patti Smith,
Idris Muhammad,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
PIL,
Pete Rock & C.L. Smooth,
Wighnomy Brothers & Robag Wruhme,
Röyhkä ja Rättö ja Lehtisalo,
Mr. Review,
Graham Central Station,
Absolute Body Control,
Scott Walker,
Schoolly D,
The Dead C,
Boz Scaggs,
Spoonie Gee,
One Last Wish,
ABBA,
Echo & the Bunnymen,
June Days,
Bootsy's Rubber Band,
Television,
Newcleus,
cv313,
the Swans,
Unrelated Segments,
Lou Reed,
In Retrospect,
Severed Heads,
Arab on Radar,
Japan,
Kerri Chandler,
Peter and Kerry,
Jeff Mills,
Eric B and Rakim,
Pharoah Sanders,
Reagan Youth,
10cc,
Fugazi,
Drexciya,
Gil Scott-Heron & Brian Jackson,
Henry Cow,
Desert Stars,
Pierre Henry,
Piero Umiliani,
Blake Baxter,
Thee Headcoats,
Lucky Dragons,
Jacob Miller,
Rhythm & Sound,
Rakim,
Loose Ends,
Intrusion,
Robert Hood,
Porter Ricks,
Juan Atkins,
The Slits,
Youth Brigade,
Terrestrial Tones,
Sparks,
Electric Light Orchestra,
The Selecter, The Selecter, The Selecter, The Selecter.
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.