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 Bahrain and from Salvador.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
I'm losing my edge to the art-school Milan 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 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 The Men They Couldn't Hang to the grime kids.
I played it at the Troubador.
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 Nik Kershaw. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Girls At Our Best!,
Eurythmics,
Kevin Saunderson,
Terror Squad Feat. Camron,
Amon Düül II,
Alphaville,
The Victims,
Mad Mike,
Radiopuhelimet,
Quando Quango,
the Swans,
Albert Ayler,
Eden Ahbez,
Television,
The Trojans,
The Standells,
Donald Byrd,
Eyeless In Gaza,
Lalann,
Suicide,
Stereo Dub,
Mark Hollis,
Bronski Beat,
Jimmy McGriff,
The Flesh Eaters,
The Remains,
The Index,
The Invisible,
The Names,
Sarah Menescal,
Public Image Ltd.,
Man Parrish,
Arthur Verocai,
The Electric Prunes,
Bush Tetras,
Neu!,
Lucky Dragons,
Electric Prunes,
Lou Christie,
Tres Demented,
Basic Channel,
Stetsasonic,
CMW,
It's A Beautiful Day,
Au Pairs,
Ludus,
Ponytail,
Sunsets and Hearts,
Glambeats Corp.,
Popol Vuh,
Fear,
The Wake,
The Blackbyrds,
New York Dolls,
Chrome,
Andrew Ashong & Theo Parrish,
Laurel Aitken,
The Walker Brothers,
MDC,
Malaria!,
Leonard Cohen,
X-102,
The Stooges,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.