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 Sweden and from Milan.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Columbus and Tokyo.
I'm losing my edge to the art-school Bremen 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 mellotron 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 Gang Starr to the disco kids.
I played it at the Roxy.
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 Country Teasers. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every John Lydon 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Wings,
Tommy Roe,
Harpers Bizarre,
D'Angelo,
Bill Wells,
Ponytail,
ABBA,
Minny Pops,
Warsaw,
Agent Orange,
Bootsy's Rubber Band,
The West Coast Pop Art Experimental Band,
Pole,
Susan Cadogan,
Aswad,
Icehouse,
Cybotron,
Loose Ends,
Ronnie Foster,
Scan 7,
Royal Trux,
Skaos,
Kerrie Biddell,
Symarip,
Marine Girls,
Heavy D & The Boyz,
Joensuu 1685,
Spandau Ballet,
Gregory Isaacs,
Dark Day,
Vainqueur,
Joe Smooth,
The Motions,
Babytalk,
Duran Duran,
Audionom,
Cameo,
The Standells,
One Last Wish,
Guru Guru,
Interpol,
Sonic Youth,
The Pretty Things,
Avey Tare,
Khruangbin,
Nick Cave & The Bad Seeds,
Gang Green,
Peter and Kerry,
Hardrive,
Fad Gadget,
Essential Logic,
Massinfluence,
Thompson Twins,
The Move,
Sugar Minott,
Sight & Sound,
EPMD,
Spoonie Gee,
Y Pants,
Patti Smith,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.