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 Niger and from Edmonton.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Portland and Glasgow.
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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Cymande to the jazz kids.
I played it at CBGB's.
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 Japan. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Hot Snakes 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith 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?
Al Stewart,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gastr Del Sol,
Siouxsie and the Banshees,
Darondo,
Public Enemy,
The Associates,
Lakeside,
Big Daddy Kane,
Audionom,
Talk Talk,
CMW,
U.S. Maple,
Josef K,
Kenny Larkin,
Connie Case,
the Soft Cell,
Inner City,
Dave Gahan,
Moss Icon,
The Divine Comedy,
Parry Music,
Fat Boys,
Brass Construction,
Matthew Halsall,
Dr. Dre and Snoop Doggy Dog,
The Black Dice,
F. McDonald,
Urselle,
Wire,
Ken Boothe,
Das Ding,
Nick Cave & The Bad Seeds,
Gichy Dan,
Technova,
Iggy Pop,
Scratch Acid,
Surgeon,
Crash Course in Science,
Peter & Gordon,
Lightning Bolt,
Kings Of Tomorrow,
Avey Tare & Kría Brekkan,
The Names,
Agitation Free,
June Days,
Symarip,
Jandek,
Massinfluence,
Lonnie Liston Smith,
Interpol,
The Tremeloes,
The Doors,
The Barracudas,
Harpers Bizarre,
Kool Moe Dee,
X-101,
Stockholm Monsters,
The Neon Judgement,
Minutemen,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.