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 France and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 Nile Rodgers 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 Excepter to the grunge kids.
I played it at CBGB's.
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 Fad Gadget. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Barrington Levy,
Erasure,
Joey Negro,
Clear Light,
The Velvet Underground,
The Toasters,
Roger Hodgson,
Ornette Coleman,
These Immortal Souls,
The New Christs,
Harmonia,
Kerri Chandler,
Yellowson,
Funkadelic,
Richard Hell and the Voidoids,
Hoover,
Buzzcocks,
Larry & the Blue Notes,
Bush Tetras,
The Leaves,
Sparks,
Minutemen,
Public Image Ltd.,
Deutsch Amerikanische Freundschaft,
The Fugs,
Skaos,
X-102,
Manfred Mann's Earth Band,
the Soft Cell,
Rahsaan Roland Kirk,
Piero Umiliani,
Juan Atkins,
Joe Finger,
The Selecter,
Matthew Halsall,
Crime,
Mantronix,
The Kinks,
X-101,
Hot Snakes,
Junior Murvin,
AZ,
Lebanon Hanover,
Albert Ayler,
Gabor Szabo,
The Busters,
Pagans,
Accadde A,
The Index,
Lindisfarne,
The Techniques,
The Slackers,
Throbbing Gristle,
Johnny Clarke,
Ronan,
Ossler,
Lafayette Afro Rock Band,
Be Bop Deluxe,
Sight & Sound,
The Black Dice,
Roxy Music,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.