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 Guatemala and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Portland 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 Feelies practice in a loft in Haledon.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Warsaw to the electroclash 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 Index. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Fluxion,
Louis and Bebe Barron,
Skriet,
Jesper Dahlbäck,
Sight & Sound,
Andrew Ashong & Theo Parrish,
The Men They Couldn't Hang,
Joe Finger,
Fugazi,
Neil Young,
The Searchers,
H. Thieme,
Masters at Work,
Angry Samoans,
Severed Heads,
Laurel Aitken,
The Tremeloes,
Sonny Sharrock,
Lucky Dragons,
The Zeros,
Derrick Morgan,
KRS-One,
Kaleidoscope,
Depeche Mode,
Bizarre Inc.,
Pylon,
Nas,
ABC,
Symarip,
China Crisis,
Black Bananas,
The Saints,
Lalo Schifrin,
The Gladiators,
The Neon Judgement,
Marine Girls,
Bluetip,
Jerry Gold Smith,
The Busters,
Rites of Spring,
Joyce Sims,
The Stooges,
UT,
Roy Ayers Ubiquity,
Main Source,
Whodini,
Tubeway Army,
Anakelly,
Lou Reed & Metallica,
Negative Approach,
Eddi Front,
Davy DMX,
Alice Coltrane,
Hardrive,
Kango’s Stein Massive,
the Sonics,
Tears for Fears,
Kerri Chandler,
Black Pus,
the Swans,
Warren Ellis,
Q65,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.