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 Lebanon and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Bologna 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 guitar 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 Roger Hodgson to the rap 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 Soul II Soul. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
Aaron Thompson,
The Blackbyrds,
Todd Terry,
The West Coast Pop Art Experimental Band,
Ralphi Rosario,
Sonic Youth,
Gerry Rafferty,
Talk Talk,
Matthew Bourne,
The Cowsills,
T.S.O.L.,
Dark Day,
Siglo XX,
Strawberry Alarm Clock,
The United States of America,
Wally Richardson,
Whodini,
Sandy B,
The Sound,
Youth Brigade,
Kas Product,
Porter Ricks,
Bootsy's Rubber Band,
Scion,
Rotary Connection,
James Chance & The Contortions,
The Royal Family And The Poor,
Siouxsie and the Banshees,
Technova,
Ice-T,
CMW,
Yaz,
Smog,
Jawbox,
Audionom,
The Associates,
Robert Hood,
Deadbeat,
Warren Ellis,
X-Ray Spex,
Toni Rubio,
Avey Tare,
The Gladiators,
Gil Scott-Heron and Jamie xx,
Von Mondo,
Pantaleimon,
Minor Threat,
Surgeon,
Ten City,
T. Rex,
Nas,
Hoover,
Cabaret Voltaire,
H. Thieme,
the Normal,
Dawn Penn,
The Standells,
The Selecter,
Bootsy Collins,
The Chocolate Watch Band,
Grandmaster Flash,
Rod Modell,
Mission of Burma, Mission of Burma, Mission of Burma, Mission of Burma.
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.