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 Bolivia and from New York.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Portland and Mumbai.
I'm losing my edge to the art-school Lyon 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 theremin 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 World's Most to the techno kids.
I played it at the Spitz.
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 Albert Ayler. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Bad Manners,
Gang of Four,
Marmalade,
Angry Samoans,
Ice-T,
The Fire Engines,
KRS-One,
Bizarre Inc.,
Little Man,
Arcadia,
CMW,
La Düsseldorf,
Depeche Mode,
Lalo Schifrin,
The Electric Prunes,
Siouxsie and the Banshees,
Wasted Youth,
Terrestrial Tones,
Sunsets and Hearts,
The Selecter,
Pylon,
Cluster,
Ituana,
Freddie Wadling,
X-102,
The Wake,
Skarface,
Urselle,
The Tremeloes,
The Sound,
Dual Sessions,
Black Sheep,
Kerri Chandler,
Avey Tare & Kría Brekkan,
Rhythm & Sound,
Kas Product,
Pagans,
Das Ding,
This Heat,
Gary Puckett & The Union Gap,
Moby Grape,
Tubeway Army,
Amon Düül,
The Black Dice,
John Holt,
Lightning Bolt,
Yazoo,
Avey Tare,
OOIOO,
Y Pants,
Lou Reed & John Cale,
Ohio Players,
Dr. Dre and Snoop Doggy Dog,
Harry Pussy,
Henry Cow,
Throbbing Gristle,
The Human League,
Gong,
Can,
Gichy Dan,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.