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 Vanuatu and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Lille.
I'm losing my edge to the art-school Salvador 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 David Bowie 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 Lyres to the punk kids.
I played it at the Crocodile.
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 Half Japanese. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Bootsy Collins,
Sonic Youth,
Deakin,
U.S. Maple,
Andrew Hill,
a-ha,
Matthew Bourne,
The Detroit Cobras,
Harry Pussy,
48th St. Collective,
Neil Young & Crazy Horse,
Crispian St. Peters,
Pete Rock & C.L. Smooth,
Whodini,
Curtis Mayfield,
Yazoo,
Neu!,
Young Marble Giants,
Liaisons Dangereuses,
Reagan Youth,
The Trojans,
Eddi Front,
Pylon,
Mandrill,
It's A Beautiful Day,
Derrick May,
Black Flag,
The Cure,
The Fall,
The United States of America,
The Associates,
Shuggie Otis,
Gregory Isaacs,
World's Most,
The Star Department,
Cal Tjader,
Q65,
Althea and Donna,
Los Fastidios,
The Gories,
Jeff Lynne,
London Community Gospel Choir,
Angels of Light & Akron/Family,
Fear,
Moss Icon,
Warren Ellis,
Wings,
Roxy Music,
Procol Harum,
Rekid,
Junior Murvin,
The Sonics,
The Zeros,
Maurizio,
Max Romeo,
Alice Coltrane,
Matthew Halsall,
Moby Grape,
Altered Images,
the Swans,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.