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 Jordan and from Halifax.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1972.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Toronto 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 1976 at the first Chic practice in a loft in New York.
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 Bobby Womack to the funk kids.
I played it at the Astoria.
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 Qualms. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Minnie Riperton,
Swell Maps,
Neil Young & Crazy Horse,
Marc Romboy vs. Booka Shade,
The Beau Brummels,
Eyeless In Gaza,
Kaleidoscope,
Symarip,
Bang On A Can,
Talk Talk,
Quantec,
Kas Product,
Interpol,
Boogie Down Productions,
Procol Harum,
Lindisfarne,
Roxette,
Clear Light,
Lalann,
Basic Channel,
T. Rex,
Black Pus,
Larry & the Blue Notes,
Rhythm & Sound,
Stiv Bators,
The Dead C,
Johnny Clarke,
Minutemen,
Flash Fearless,
Ten City,
Dorothy Ashby,
Crispy Ambulance,
Young Marble Giants,
The Slits,
London Community Gospel Choir,
Aaron Thompson,
Skaos,
H. Thieme,
Stereo Dub,
The Stooges,
Jawbox,
Little Man,
Kevin Saunderson,
Section 25,
Pylon,
Sam Rivers,
Accadde A,
Gang Starr,
Glenn Branca,
Magazine,
The Pop Group,
Oppenheimer Analysis,
Severed Heads,
The Dave Clark Five,
Siouxsie and the Banshees,
The Fire Engines,
Arthur Verocai,
Vainqueur,
Fort Wilson Riot,
Blancmange,
Amon Düül,
Cluster, Cluster, Cluster, Cluster.
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.