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 Finland and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Tehran and Tehran.
I'm losing my edge to the art-school Tehran 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 sitar 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 MC5 to the techno kids.
I played it at the Hacienda.
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 Chrome. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Q and Not U 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Men They Couldn't Hang,
Slick Rick,
The Invisible,
Kings Of Tomorrow,
Ohio Players,
Nas,
The West Coast Pop Art Experimental Band,
Clear Light,
The Sound,
Crash Course in Science,
Rufus Thomas,
Theoretical Girls,
Michelle Simonal,
Wasted Youth,
Teenage Jesus and the Jerks,
Ossler,
Alison Limerick,
Grandmaster Flash and the Furious Five,
Cabaret Voltaire,
Interpol,
Half Japanese,
Heaven 17,
The Litter,
The Black Dice,
Gil Scott-Heron & Brian Jackson,
T.S.O.L.,
The Gladiators,
Von Mondo,
a-ha,
Lalann,
Sticky Fingaz feat. Raekwon,
the Bar-Kays,
John Cale,
Scan 7,
Subhumans,
Loose Ends,
Das Ding,
Hasil Adkins,
Jawbox,
The Fall,
the Slits,
Brick,
The Fugs,
Traffic Nightmare,
Unrelated Segments,
The Count Five,
Cybotron,
Public Image Ltd.,
Television Personalities,
Terrestrial Tones,
Hashim,
The Red Krayola,
Gil Scott-Heron and Jamie xx,
Circle Jerks,
Boredoms,
Reagan Youth,
Marmalade,
Vainqueur,
Mad Mike,
Vaughan Mason & Crew,
Barclay James Harvest,
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.