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 Belarus and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Philadelphia 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Matthew Halsall to the dance kids.
I played it at the Astoria.
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 Lucky Dragons. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
June Days,
Amon Düül II,
Faust,
The Slackers,
Pete Rock & C.L. Smooth,
The Grass Roots,
Model 500,
The Slits,
Hardrive,
The Fortunes,
The Dave Clark Five,
Harmonia,
Rowland S Howard / Lydia Lunch,
Robert Görl,
Half Japanese,
Flamin' Groovies,
Fear,
Bauhaus,
Erykah Badu,
Los Fastidios,
Boogie Down Productions,
Fugazi,
The Wake,
Average White Band,
Dark Day,
Fad Gadget,
Schoolly D,
The Beau Brummels,
Glambeats Corp.,
Lebanon Hanover,
Don Cherry,
L. Decosne,
F. McDonald,
Terry Callier,
Albert Ayler,
Avey Tare,
Fort Wilson Riot,
The Blackbyrds,
Drive Like Jehu,
Dennis Brown,
Alison Limerick,
Shoche,
Piero Umiliani,
Jacob Miller,
Charles Mingus,
Banda Bassotti,
H. Thieme,
The Buckinghams,
DeepChord presents Echospace,
Gang Green,
Ituana,
Buzzcocks,
the Association,
Aaron Thompson,
Depeche Mode,
The Moody Blues,
Stetsasonic,
Ten City,
Ultravox,
Circle Jerks,
Archie Shepp,
The Blues Magoos,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.