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 Lithuania and from Winnipeg.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Tokyo 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Visage to the crunk kids.
I played it at the Crocodile.
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 Vogues. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Ossler 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
the Slits,
A Certain Ratio,
Maurizio,
Outsiders,
Grandmaster Flash,
Chrome,
Zapp,
Tears for Fears,
The Young Rascals,
L. Decosne,
Kaleidoscope,
Bootsy's Rubber Band,
Reuben Wilson,
Model 500,
Jawbox,
Heaven 17,
A Flock of Seagulls,
Donald Byrd,
Roy Ayers Ubiquity,
Teenage Jesus and the Jerks,
Lizzy Mercier Descloux,
Soft Cell,
The Slackers,
The Searchers,
Idris Muhammad,
Faust,
Lightning Bolt,
Swans,
Pete Rock & C.L. Smooth,
Slave,
The Cramps,
Arab on Radar,
London Community Gospel Choir,
John Holt,
Thompson Twins,
Kerri Chandler,
Soul Sonic Force,
Vaughan Mason & Crew,
Chris & Cosey,
Fugazi,
Alice Coltrane,
Gian Franco Pienzio,
Don Cherry,
Reagan Youth,
Darondo,
Brand Nubian,
Agent Orange,
Rapeman,
Harry Pussy,
Kas Product,
Roger Hodgson,
Matthew Bourne,
The Walker Brothers,
Sound Behaviour,
Amon Düül,
Kayak,
Sticky Fingaz feat. Raekwon,
Erasure,
Marcia Griffiths,
Negative Approach,
Throbbing Gristle,
Surgeon, Surgeon, Surgeon, Surgeon.
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.