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 Argentina and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1976.
I'm losing my edge.
To all the kids in Manila and Salvador.
I'm losing my edge to the art-school Mumbai 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Johnny Osbourne to the funk kids.
I played it at the Spitz.
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 Black Dice. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
David McCallum,
T.S.O.L.,
Boredoms,
Minor Threat,
The Red Krayola,
AZ,
Rhythm & Sound,
a-ha,
Al Stewart,
Yaz,
Yazoo,
The Divine Comedy,
X-102,
The Victims,
Captain Beefheart & His Magic Band,
Goldenarms,
Interpol,
Cymande,
The Electric Prunes,
Freddie Wadling,
Nas,
The Grass Roots,
The Real Kids,
Fluxion,
Q65,
Byron Stingily,
Röyhkä ja Rättö ja Lehtisalo,
The Smiths,
Sonny Sharrock,
Carl Craig,
Kauko Röyhkä ja Narttu,
CMW,
Negative Approach,
Mission of Burma,
The Cosmic Jokers,
Jesper Dahlback,
F. McDonald,
the Bar-Kays,
The Mojo Men,
K-Klass,
The Beau Brummels,
The Walker Brothers,
Brick,
Franke,
Crooked Eye,
Be Bop Deluxe,
Amazonics,
Gang of Four,
Harry Pussy,
Ultra Naté,
L. Decosne,
The Moleskins,
Chrome,
Cabaret Voltaire,
Sexual Harrassment,
Bang on a Can All-Stars,
Wally Richardson,
Technova,
Sun Ra Arkestra,
Eli Mardock,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.