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 Madrid.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 U.S. Maple to the electroclash kids.
I played it at the 40 Watt.
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 Loose Ends. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Panda Bear 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 '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Boredoms,
The Men They Couldn't Hang,
The Remains,
Talk Talk,
The Smiths,
Jerry's Kids,
Vaughan Mason & Crew,
Art Ensemble Of Chicago,
The Gladiators,
The West Coast Pop Art Experimental Band,
Danielle Patucci,
Sister Nancy,
Gil Scott-Heron and Jamie xx,
The Shadows of Knight,
Marc Romboy vs. Booka Shade,
The Durutti Column,
Pet Shop Boys,
The Flesh Eaters,
Masters at Work,
Marc Almond,
The Black Dice,
The Gories,
Livin' Joy,
Jacob Miller,
The Chocolate Watch Band,
Fatback Band,
Althea and Donna,
Avey Tare's Slasher Flicks,
Nas,
Kenny Larkin,
Index,
Pierre Henry,
The Dave Clark Five,
Newcleus,
Nik Kershaw,
Accadde A,
cv313,
Make Up,
Todd Terry,
Morten Harket,
Y Pants,
Andrew Hill,
Scott Walker + Sunn O))),
Amon Düül,
The Names,
Icehouse,
Rotary Connection,
Section 25,
Blake Baxter,
Michelle Simonal,
Underground Resistance,
Kerrie Biddell,
Cal Tjader,
Rod Modell,
Man Parrish,
Girls At Our Best!,
Babytalk,
Graham Central Station,
Junior Murvin,
The Blackbyrds,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.