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 Saudi Arabia and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school New York 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 snare 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 Peter & Gordon to the punk kids.
I played it at the 40 Watt.
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 Fugazi. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Ronan,
Kerrie Biddell,
Royal Trux,
Section 25,
Terry Callier,
Yazoo,
The Chocolate Watch Band,
Nas,
Talk Talk,
Siglo XX,
Gil Scott-Heron and Jamie xx,
Anthony Braxton,
New Order,
Cluster,
Eurythmics,
The Move,
Second Layer,
Morten Harket,
Au Pairs,
Sexual Harrassment,
Bang on a Can All-Stars,
Radiohead,
Angry Samoans,
Eric B and Rakim,
Fugazi,
Sandy B,
Cheater Slicks,
Main Source,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Blossom Toes,
John Holt,
Spandau Ballet,
E-Dancer,
Jacques Brel,
Underground Resistance,
Brass Construction,
Reagan Youth,
Dawn Penn,
the Swans,
Rahsaan Roland Kirk,
Pulsallama,
The Saints,
The Doobie Brothers,
It's A Beautiful Day,
Red Lorry Yellow Lorry,
Wasted Youth,
Gang Gang Dance,
The Music Machine,
Big Daddy Kane,
Subhumans,
F. McDonald,
Jesper Dahlback,
Dual Sessions,
The Gun Club,
The Victims,
Visage,
Soft Machine,
Boogie Down Productions,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.