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 Cape Verde and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Calgary 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the chamberlin 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 Marine Girls to the funk kids.
I played it at the Troubador.
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 Animal Collective. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Steve Hackett,
Ash Ra Tempel,
Sight & Sound,
Ultimate Spinach,
The Fugs,
Nico,
Los Fastidios,
Chris & Cosey,
Fifty Foot Hose,
Super Lover Cee & Casanova Rud,
Section 25,
OOIOO,
The Doors,
It's A Beautiful Day,
Siouxsie and the Banshees,
Rowland S Howard / Lydia Lunch,
Liliput,
Marcia Griffiths,
U.S. Maple,
New Age Steppers,
Oppenheimer Analysis,
Adolescents,
The Move,
Beasts of Bourbon,
Soul II Soul,
New York Dolls,
Public Image Ltd.,
Sun City Girls,
Eddi Front,
The Detroit Cobras,
Niagra,
Ronnie Foster,
World's Most,
Unrelated Segments,
London Community Gospel Choir,
Kenny Larkin,
Smog,
Ajijia Myrayebe,
Animal Collective,
Soft Cell,
Fat Boys,
Warsaw,
Jeru the Damaja,
Royal Trux,
Joensuu 1685,
Massinfluence,
Avey Tare,
Gian Franco Pienzio,
Barbara Tucker,
Accadde A,
Maleditus Sound,
Marmalade,
Neil Young & Crazy Horse,
Tom Boy,
Kango’s Stein Massive,
X-Ray Spex,
Pagans,
the Soft Cell,
Dave Gahan,
Richard Hell and the Voidoids,
Ronan,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.