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 Bangladesh and from Mumbai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the theremin 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 Lee Hazlewood to the dance kids.
I played it at the Troubador.
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 Cal Tjader. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Lower 48 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 '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Slick Rick,
Model 500,
A Certain Ratio,
The Evens,
Das Ding,
The Durutti Column,
Alison Limerick,
Sarah Menescal,
Jeru the Damaja,
B.T. Express,
The Birthday Party,
Toni Rubio,
Soft Machine,
Richard Hell and the Voidoids,
Super Lover Cee & Casanova Rud,
Kaleidoscope,
Jandek,
Underground Resistance,
Television Personalities,
Mark Hollis,
Nas,
Max Romeo,
Shoche,
Josef K,
The Knickerbockers,
Rhythim Is Rhythim,
AZ,
The Five Americans,
Fear,
Dorothy Ashby,
Q and Not U,
Kerrie Biddell,
Sam Rivers,
Dave Gahan,
Animal Collective,
Lou Christie,
The Music Machine,
Wighnomy Brothers & Robag Wruhme,
Crooked Eye,
Jeff Mills,
Sandy B,
Idris Muhammad,
Liaisons Dangereuses,
The Cure,
the Human League,
Kayak,
Massinfluence,
Henry Cow,
Rod Modell,
Joensuu 1685,
Fela Kuti,
Fat Boys,
Sound Behaviour,
Swell Maps,
Iggy Pop,
The Busters,
Oneida,
The Golliwogs,
New Order,
Jerry's Kids,
DNA, DNA, DNA, DNA.
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.