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 Belize and from London.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Madrid 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Fear to the rock kids.
I played it at Trash.
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 New Order. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Fort Wilson Riot,
The Index,
Pete Rock & C.L. Smooth,
Lonnie Liston Smith,
Porter Ricks,
Jimmy McGriff,
Chris & Cosey,
Minny Pops,
Youth Brigade,
Rhythm & Sound,
Barry Ungar,
the Slits,
Sugar Minott,
Roxette,
Kings Of Tomorrow,
Ken Boothe,
Cluster,
Siouxsie and the Banshees,
China Crisis,
Ten City,
Lee Hazlewood,
Sam Rivers,
Leonard Cohen,
Lucky Dragons,
Brothers Johnson,
The Neon Judgement,
The Men They Couldn't Hang,
Nation of Ulysses,
Sonic Youth,
Hoover,
Super Lover Cee & Casanova Rud,
Man Parrish,
Darondo,
Charles Mingus,
Pere Ubu,
Sad Lovers and Giants,
Amon Düül,
Jesper Dahlbäck,
Soul Sonic Force,
Mark Hollis,
Traffic Nightmare,
Marc Romboy vs. Booka Shade,
The Saints,
Kevin Saunderson,
The Young Rascals,
Peter & Gordon,
Brick,
Bush Tetras,
The Fire Engines,
Harmonia,
The Seeds,
Tom Boy,
Funkadelic,
Wings,
Bluetip,
Matthew Halsall,
Excepter,
Lizzy Mercier Descloux,
Pantytec,
Shoche,
Pussy Galore,
Dual Sessions,
Newcleus,
Rapeman, Rapeman, Rapeman, Rapeman.
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.