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 Tonga and from Spokane.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Main Source 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 Danielle Patucci. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Jandek 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 '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Byron Stingily,
Ituana,
The Move,
The Mummies,
Magma,
Notorious Big And Bone Thugs,
UT,
David Axelrod,
Motorama,
Camouflage,
Pole,
The American Breed,
Marc Almond,
The Misunderstood,
Bad Manners,
Kayak,
The Remains,
Groovy Waters,
Godley & Creme,
The Sisters of Mercy,
Ice-T,
Erasure,
Arcadia,
Goldenarms,
Symarip,
Danielle Patucci,
Fatback Band,
Unwound,
Todd Rundgren,
the Normal,
Agent Orange,
Soft Machine,
The Barracudas,
Radiohead,
Ken Boothe,
Rapeman,
Sällskapet,
Ponytail,
John Lydon,
AZ,
The Grass Roots,
Amazonics,
Sam Rivers,
Charles Mingus,
Captain Beefheart & His Magic Band,
Marine Girls,
Scott Walker,
The Modern Lovers,
Jawbox,
Interpol,
Radio Birdman,
The Music Machine,
Pagans,
Barbara Tucker,
Dark Day,
Andrew Hill,
Moss Icon,
Piero Umiliani,
X-Ray Spex,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.