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 Eritrea and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Manchester 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 a-ha to the dance kids.
I played it at Cafe Wha.
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 Art Ensemble Of Chicago. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Lou Reed & John Cale,
Shuggie Otis,
Dark Day,
Sex Pistols,
Lindisfarne,
The Fall,
The Moody Blues,
Excepter,
Silicon Teens,
Sonic Youth,
DJ Sneak,
Ash Ra Tempel,
KRS-One,
Sun City Girls,
The Durutti Column,
Radiopuhelimet,
Make Up,
The Busters,
Jimmy McGriff,
The Monks,
The Shadows of Knight,
DJ Style,
Unrelated Segments,
Robert Hood,
The United States of America,
Smog,
Eli Mardock,
Captain Beefheart & His Magic Band,
Shoche,
Andrew Ashong & Theo Parrish,
The Barracudas,
Barbara Tucker,
Bobby Sherman,
The Gladiators,
Maleditus Sound,
Public Enemy,
Amon Düül,
The Toasters,
Soul Sonic Force,
Justin Hinds & The Dominoes,
Bang on a Can All-Stars,
MDC,
Unwound,
Bobby Womack,
John Lydon,
The Dave Clark Five,
Fela Kuti,
David McCallum,
One Last Wish,
The Real Kids,
The Index,
Roxy Music,
Terry Callier,
Dawn Penn,
Röyhkä ja Rättö ja Lehtisalo,
Kauko Röyhkä ja Narttu,
Dual Sessions,
Reagan Youth,
The Alarm Clocks,
Harpers Bizarre,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.