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 Haiti and from Copenhagen.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bremen and New York.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Severed Heads to the grime 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 Vladislav Delay. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Avey Tare & Kría Brekkan,
The Neon Judgement,
These Immortal Souls,
the Slits,
Donny Hathaway,
Lou Reed & Metallica,
Radio Birdman,
The Slits,
Lalann,
K-Klass,
Make Up,
Thee Headcoats,
Todd Terry,
Glenn Branca,
Mission of Burma,
The Skatalites,
Dawn Penn,
Hot Snakes,
D'Angelo,
Patti Smith,
Maleditus Sound,
Kaleidoscope,
Toni Rubio,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bauhaus,
Laurel Aitken,
China Crisis,
Pantytec,
Alice Coltrane,
Terrestrial Tones,
Bobby Sherman,
Josef K,
June of 44,
Danielle Patucci,
Vaughan Mason & Crew,
Marcia Griffiths,
Piero Umiliani,
Eurythmics,
Mantronix,
Mo-Dettes,
The United States of America,
The Cure,
Animal Collective,
The Knickerbockers,
The Flesh Eaters,
The Misunderstood,
Sex Pistols,
Matthew Halsall,
Electric Prunes,
Amon Düül II,
Los Fastidios,
Notorious BIG live in Amsterdam,
Jerry's Kids,
Scratch Acid,
Malaria!,
Fifty Foot Hose,
Freddie Wadling,
Fort Wilson Riot,
Monolake,
Soul Sonic Force,
Super Lover Cee & Casanova Rud,
PIL, PIL, PIL, PIL.
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.