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 Barbados and from Milan.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Darondo to the dance kids.
I played it at CBGB's.
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 Sonny Sharrock. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Michelle Simonal,
Blake Baxter,
the Association,
Traffic Nightmare,
Electric Light Orchestra,
Moss Icon,
Gichy Dan,
Amazonics,
The Smoke,
Be Bop Deluxe,
Kango’s Stein Massive,
LL Cool J,
Ultra Naté,
Deutsch Amerikanische Freundschaft,
The Busters,
Yazoo,
AZ,
Glenn Branca,
X-Ray Spex,
James Chance & The Contortions,
Rhythim Is Rhythim,
The Golliwogs,
Bluetip,
Kool G Rap & DJ Polo,
The American Breed,
Bobby Hutcherson,
Lou Reed & John Cale,
The Saints,
The Sisters of Mercy,
Echo & the Bunnymen,
Circle Jerks,
X-101,
Ronnie Foster,
Slave,
New Age Steppers,
Gong,
David McCallum,
Chris Corsano,
Super Lover Cee & Casanova Rud,
Eyeless In Gaza,
Jimmy McGriff,
The Sound,
Subhumans,
Hardrive,
Swell Maps,
Bobby Womack,
Flamin' Groovies,
John Cale,
The Stooges,
Average White Band,
Pagans,
Art Ensemble Of Chicago,
Urselle,
Quadrant,
Wire,
B.T. Express,
Pussy Galore,
Wasted Youth,
Richard Hell and the Voidoids,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.