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 Chile and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Tehran and Manila.
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 808 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 Soft Machine 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 Ten City. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow 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?
Lower 48,
Echospace,
the Sonics,
Los Fastidios,
Warren Ellis,
Heavy D & The Boyz,
Quantec,
New York Dolls,
Motorama,
The Offenders,
Drive Like Jehu,
Bronski Beat,
Trumans Water,
Monolake,
Banda Bassotti,
Bizarre Inc.,
Public Enemy,
The Standells,
Sly & The Family Stone,
Scion,
Stiv Bators,
The Cosmic Jokers,
Zapp,
Robert Hood,
The Angels of Light,
X-102,
Grauzone,
Swans,
the Normal,
The Count Five,
Sun Ra Arkestra,
John Lydon,
Isaac Hayes,
Sound Behaviour,
Wasted Youth,
Matthew Bourne,
Pulsallama,
Eve St. Jones,
Camron Feat. Jay Z And Juelz,
Vaughan Mason & Crew,
Terror Squad Feat. Camron,
Kenny Larkin,
Nik Kershaw,
Gastr Del Sol,
Pussy Galore,
Connie Case,
F. McDonald,
Tomorrow,
Animal Collective,
Black Sheep,
The Real Kids,
In Retrospect,
Throbbing Gristle,
Crime,
DNA,
T. Rex,
Marc Romboy vs. Booka Shade,
Cal Tjader,
Lucky Dragons,
The Young Rascals,
The Index,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.