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 Liberia and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1979.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Portland 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 güiro 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 Qualms to the jazz kids.
I played it at the 40 Watt.
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 Sad Lovers and Giants. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
David Bowie,
Kings Of Tomorrow,
Icehouse,
Zapp,
Interpol,
B.T. Express,
Silicon Teens,
Pharoah Sanders,
Animal Collective,
Whodini,
Donald Byrd,
Angels of Light & Akron/Family,
Liaisons Dangereuses,
Ohio Players,
Michelle Simonal,
Mark Hollis,
Harry Pussy,
Theoretical Girls,
Lee Hazlewood,
June Days,
the Germs,
Barbara Tucker,
Fluxion,
The Gories,
Minny Pops,
Quadrant,
Ajijia Myrayebe,
MC5,
James White and The Blacks,
Underground Resistance,
Reuben Wilson,
Rhythm & Sound,
The Fall,
The Zeros,
Magma,
Thee Headcoats,
Notorious BIG live in Amsterdam,
Negative Approach,
Television Personalities,
Black Sheep,
Loose Ends,
Orchestral Manoeuvres in the Dark,
The Gun Club,
Avey Tare's Slasher Flicks,
The Moody Blues,
Drive Like Jehu,
The Knickerbockers,
Derrick Morgan,
Dorothy Ashby,
OOIOO,
Gregory Isaacs,
Leonard Cohen,
The Litter,
Gichy Dan,
The Young Rascals,
Rites of Spring,
Flamin' Groovies,
Rotary Connection,
John Cale,
Larry & the Blue Notes,
Neu!, Neu!, Neu!, Neu!.
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.