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 Monaco and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Taipei 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 harpsichord 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 Alison Limerick to the electroclash 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 Slits. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
The American Breed,
Barrington Levy,
Patti Smith,
8 Eyed Spy,
Mandrill,
Ornette Coleman,
Danielle Patucci,
Sad Lovers and Giants,
Rod Modell,
Gang of Four,
Hot Snakes,
Dawn Penn,
Kango’s Stein Massive,
Henry Cow,
Cabaret Voltaire,
the Slits,
One Last Wish,
The Electric Prunes,
Neu!,
Amon Düül,
The Slackers,
Dennis Brown,
Erasure,
Eve St. Jones,
Robert Hood,
Gichy Dan,
LL Cool J,
Grandmaster Flash and the Furious Five,
Darondo,
Spandau Ballet,
Arcadia,
Dead Boys,
World's Most,
Model 500,
Kaleidoscope,
Andrew Ashong & Theo Parrish,
Electric Light Orchestra,
June of 44,
Eric B and Rakim,
Prince Buster,
Suburban Knight,
X-Ray Spex,
Barry Ungar,
Deepchord,
Eden Ahbez,
Radio Birdman,
Chris Corsano,
Rites of Spring,
Icehouse,
The Chocolate Watch Band,
Erykah Badu,
Crispian St. Peters,
The Residents,
The Fortunes,
DeepChord presents Echospace,
Lou Reed,
Althea and Donna,
Skriet,
DNA,
MDC,
The Smiths,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.