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 Ghana and from Taipei.
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 1978.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Minutemen to the punk 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 AZ. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every The Gap Band 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Quando Quango,
The Sisters of Mercy,
Sunsets and Hearts,
Major Organ And The Adding Machine,
Sight & Sound,
Cabaret Voltaire,
Terrestrial Tones,
Oneida,
Bob Dylan,
Tubeway Army,
Notorious BIG live in Amsterdam,
Bobby Hutcherson,
the Human League,
Intrusion,
The Raincoats,
Cameo,
Gian Franco Pienzio,
Tropical Tobacco,
Albert Ayler,
Sound Behaviour,
Sonny Sharrock,
KRS-One,
Sonic Youth,
Amon Düül,
Bang On A Can,
Kings Of Tomorrow,
Ituana,
R.M.O.,
Jesper Dahlback,
Pylon,
Amazonics,
Heaven 17,
Anakelly,
Scrapy,
The Jesus and Mary Chain,
Louis and Bebe Barron,
Magazine,
Stiv Bators,
Liaisons Dangereuses,
Gang Gang Dance,
The Searchers,
Eurythmics,
Eli Mardock,
the Germs,
Moss Icon,
Magma,
The Dirtbombs,
Kool Moe Dee,
Sugar Minott,
Model 500,
Cal Tjader,
B.T. Express,
Siouxsie and the Banshees,
Notorious Big And Bone Thugs,
Whodini,
Wings,
The Five Americans,
Joe Smooth,
The Victims,
Mo-Dettes,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.