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 Mali and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Beijing 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 In Retrospect to the grime kids.
I played it at the Hacienda.
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 The Velvet Underground. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen 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?
Patti Smith,
Fort Wilson Riot,
David Axelrod,
Slick Rick,
Throbbing Gristle,
Sexual Harrassment,
Q and Not U,
48th St. Collective,
World's Most,
Ituana,
Gang Gang Dance,
Marshall Jefferson,
Eric Copeland,
Moby Grape,
Suicide,
Gary Puckett & The Union Gap,
The Five Americans,
Monks,
L. Decosne,
Roger Hodgson,
Amon Düül,
Darondo,
Roxette,
Ice-T,
T.S.O.L.,
Basic Channel,
The Gories,
Prince Buster,
The Stooges,
The Moleskins,
Sex Pistols,
Robert Wyatt,
Sugar Minott,
Skarface,
Marine Girls,
Matthew Bourne,
The West Coast Pop Art Experimental Band,
The Cure,
Anthony Braxton,
Joe Smooth,
Connie Case,
Visionaries,LMNO, T- Love & Iriscience,
the Sonics,
Massinfluence,
Gil Scott-Heron and Jamie xx,
Grandmaster Flash,
Sun Ra,
Joyce Sims,
Shoche,
Tres Demented,
Excepter,
Nation of Ulysses,
Lou Christie,
The Raincoats,
The Associates,
Cal Tjader,
Red Lorry Yellow Lorry,
Magazine,
Donald Byrd,
Kerrie Biddell,
Supertramp,
Ultra Naté,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.