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 Bahrain and from Winnipeg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Calgary and Winnipeg.
I'm losing my edge to the art-school Tehran 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 clarinet sounds with much patience.
I was there when Lou Reed 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 The Cure to the electroclash kids.
I played it at the Hacienda.
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 Cameo. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Michelle Simonal 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 '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Lou Reed,
Richard Hell and the Voidoids,
The Residents,
New Age Steppers,
Young Marble Giants,
Pharoah Sanders,
The Dave Clark Five,
A Flock of Seagulls,
The Moody Blues,
Bobby Byrd,
Swans,
Jerry Gold Smith,
Mars,
The Chocolate Watch Band,
The Evens,
The Searchers,
Pharaoh Sanders and the Fire Engines,
The Fall,
The Misunderstood,
Justin Hinds & The Dominoes,
Terror Squad Feat. Camron,
Dr. Dre and Snoop Doggy Dog,
The Peanut Butter Conspiracy,
The Sonics,
Deakin,
Oneida,
Talk Talk,
Angry Samoans,
Blossom Toes,
Masters at Work,
Laurel Aitken,
Glenn Branca,
Khruangbin,
Desert Stars,
The Standells,
48th St. Collective,
Second Layer,
Vladislav Delay,
The Techniques,
June Days,
Manfred Mann's Earth Band,
Circle Jerks,
The J.B.'s,
Dual Sessions,
Tom Boy,
Gang Starr,
Altered Images,
The Count Five,
Flamin' Groovies,
Bush Tetras,
Accadde A,
Visage,
Bootsy Collins,
Inner City,
Babytalk,
Fugazi,
The Detroit Cobras,
Con Funk Shun,
Soft Machine,
Lee Hazlewood,
Bauhaus,
Hardrive,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.