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 Macedonia and from Shanghai.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Edmonton 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 Tom Verlaine 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 Connie Case to the dance 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 One Last Wish. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Bauhaus 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 a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
Slick Rick,
Gary Puckett & The Union Gap,
Q65,
Teenage Jesus and the Jerks,
Rowland S Howard / Lydia Lunch,
Marc Romboy vs. Booka Shade,
John Lydon,
The Dead C,
Dr. Dre and Snoop Doggy Dog,
Bad Manners,
Roger Hodgson,
The American Breed,
Prince Buster,
Sun Ra,
Neil Young,
Ohio Players,
The Fugs,
The Happenings,
Ponytail,
Jacques Brel,
The Pretty Things,
The Peanut Butter Conspiracy,
Vladislav Delay,
Bootsy Collins,
Ash Ra Tempel,
Sticky Fingaz feat. Raekwon,
Bang on a Can All-Stars,
The Sound,
The Busters,
The Associates,
Sarah Menescal,
The Gap Band,
Rakim,
Marcia Griffiths,
Aaron Thompson,
Sight & Sound,
The Fortunes,
Ultramagnetic MC's,
Duran Duran,
Sexual Harrassment,
Strawberry Alarm Clock,
Chrome,
Visage,
The Names,
Mandrill,
Kings Of Tomorrow,
Liaisons Dangereuses,
Masters at Work,
Sällskapet,
Aural Exciters,
Sun Ra Arkestra,
Section 25,
Vaughan Mason & Crew,
the Soft Cell,
Ossler,
Oppenheimer Analysis,
Ituana,
Minor Threat,
The Men They Couldn't Hang,
Dual Sessions,
Joy Division,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.