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 Chile and from Tehran.
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 1966 to 1973.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Bologna 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 1971 at the first Big Star practice in a loft in Memphis.
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 H. Thieme to the jazz kids.
I played it at the Spitz.
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 Basic Channel. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Susan Cadogan 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 '80s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Eric B and Rakim,
the Bar-Kays,
Man Parrish,
Ornette Coleman,
Ultramagnetic MC's,
Morten Harket,
The Beau Brummels,
Warsaw,
Vaughan Mason & Crew,
The Five Americans,
a-ha,
Black Bananas,
Nick Cave & The Bad Seeds,
Rakim,
Aaron Thompson,
Brothers Johnson,
Terrestrial Tones,
Country Teasers,
Alison Limerick,
The Cosmic Jokers,
Model 500,
The Mojo Men,
Freddie Wadling,
The Index,
The Kinks,
Siouxsie and the Banshees,
The Happenings,
Jeff Mills,
Lyres,
Stereo Dub,
Public Enemy,
Rhythim Is Rhythim,
Second Layer,
Josef K,
Porter Ricks,
Fugazi,
New York Dolls,
David Axelrod,
Sonic Youth,
Barrington Levy,
Amazonics,
Swans,
The Fuzztones,
The New Christs,
Tommy Roe,
The Sisters of Mercy,
Kayak,
Dead Boys,
Clear Light,
The Last Poets,
Delta 5,
Lou Reed & John Cale,
Khruangbin,
Surgeon,
The Velvet Underground,
Angels of Light & Akron/Family,
E-Dancer,
The Motions,
Kings Of Tomorrow,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.