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 Guinea and from Stockholm.
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 1975.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Jakarta 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 organ 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 New York Dolls to the dance kids.
I played it at Trash.
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 The Fortunes. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Rhythm & Sound,
Joyce Sims,
Man Eating Sloth,
Throbbing Gristle,
Bootsy Collins,
Eric B and Rakim,
Don Cherry,
Glambeats Corp.,
Maleditus Sound,
Bauhaus,
The Names,
Rapeman,
kango's stein massive,
The Fall,
Nas,
Terrestrial Tones,
Erasure,
Laurel Aitken,
Minnie Riperton,
Simply Red,
James White and The Blacks,
Janne Schatter,
T.S.O.L.,
Jesper Dahlback,
Jerry's Kids,
Swans,
The Dirtbombs,
Marine Girls,
The Happenings,
Chris & Cosey,
Mad Mike,
Eve St. Jones,
The Beau Brummels,
Avey Tare,
Johnny Osbourne,
Freddie Wadling,
Mars,
Mr. Review,
Sparks,
Sight & Sound,
Slave,
Graham Central Station,
The Slackers,
Jeff Lynne,
The Modern Lovers,
Sex Pistols,
Ponytail,
Richard Hell and the Voidoids,
the Soft Cell,
ABBA,
The Fortunes,
Pharaoh Sanders and the Fire Engines,
Visionaries,LMNO, T- Love & Iriscience,
Rosa Yemen,
Pantytec,
Traffic Nightmare,
Unrelated Segments,
DeepChord presents Echospace,
Eric Dolphy,
ABC,
Major Organ And The Adding Machine,
Pagans, Pagans, Pagans, Pagans.
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.