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 Somalia and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Taipei.
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 chamberlin 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 Dead Boys to the punk kids.
I played it at CBGB's.
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 Janne Schatter. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Gang Starr,
The Dead C,
The Vogues,
Model 500,
Sexual Harrassment,
Sonic Youth,
Agitation Free,
The Chocolate Watch Band,
The Cosmic Jokers,
The Invisible,
Matthew Bourne,
MDC,
Robert Wyatt,
The Offenders,
In Retrospect,
Barbara Tucker,
Essential Logic,
Unwound,
F. McDonald,
The Litter,
Faraquet,
John Lydon,
Stereo Dub,
the Slits,
Avey Tare's Slasher Flicks,
cv313,
World's Most,
Sex Pistols,
Sam Rivers,
Marcia Griffiths,
Parry Music,
K-Klass,
Erasure,
China Crisis,
Sparks,
Amon Düül II,
Jeff Lynne,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gian Franco Pienzio,
Circle Jerks,
Judy Mowatt,
David Axelrod,
R.M.O.,
Terror Squad Feat. Camron,
Bronski Beat,
Khruangbin,
Lalann,
The Fortunes,
Marc Romboy vs. Booka Shade,
The Smiths,
Derrick Morgan,
Mr. Review,
Bobby Sherman,
Interpol,
The Saints,
Scan 7,
Curtis Mayfield,
Warsaw,
The Cramps,
Bizarre Inc.,
Barclay James Harvest,
Roy Ayers Ubiquity,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.