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 Armenia and from Portland.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Bologna and Columbus.
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 synthesizer 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 Jacques Brel to the jazz 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 Spandau Ballet. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Crash Course in Science 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Warsaw,
Simply Red,
Grey Daturas,
Joensuu 1685,
Lizzy Mercier Descloux,
Piero Umiliani,
Anthony Braxton,
Liaisons Dangereuses,
The Real Kids,
Delon & Dalcan,
Gian Franco Pienzio,
These Immortal Souls,
The Barracudas,
Kool G Rap & DJ Polo,
Crispy Ambulance,
Pet Shop Boys,
Eric Dolphy,
The Human League,
Johnny Clarke,
Swell Maps,
The Wake,
Barclay James Harvest,
Audionom,
The Divine Comedy,
DJ Sneak,
Thee Headcoats,
Clear Light,
Hardrive,
The United States of America,
Rhythm & Sound,
The Blues Magoos,
Slick Rick,
Fear,
Joe Smooth,
John Holt,
Idris Muhammad,
Visionaries,LMNO, T- Love & Iriscience,
The Moody Blues,
Robert Görl,
The Monks,
Wighnomy Brothers & Robag Wruhme,
Skarface,
Hashim,
Cybotron,
The Selecter,
Nas,
Eve St. Jones,
Depeche Mode,
Chris Corsano,
Kenny Larkin,
Kaleidoscope,
Fort Wilson Riot,
Fifty Foot Hose,
Organ,
Blancmange,
Minor Threat,
Malaria!,
John Cale, John Cale, John Cale, John Cale.
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.