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 Spain and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school Johannesburg 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 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 The Motions to the techno kids.
I played it at Cafe Wha.
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 The Residents. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Kool Moe Dee,
Junior Murvin,
Little Man,
Main Source,
Young Marble Giants,
The Residents,
London Community Gospel Choir,
Ossler,
Black Moon,
Judy Mowatt,
The Gories,
Orchestral Manoeuvres in the Dark,
Livin' Joy,
Chrome,
Rhythm & Sound,
FM Einheit,
Kevin Saunderson,
Japan,
Animal Collective,
The American Breed,
Talk Talk,
Franke,
Alison Limerick,
Marmalade,
Ronan,
Danielle Patucci,
Gil Scott-Heron & Brian Jackson,
Stereo Dub,
Technova,
The Grass Roots,
Soul Sonic Force,
The Gun Club,
Fort Wilson Riot,
Louis and Bebe Barron,
Rufus Thomas,
Sly & The Family Stone,
Schoolly D,
Jeff Lynne,
David Bowie,
Lee Hazlewood,
Saccharine Trust,
Yaz,
The Litter,
Gastr Del Sol,
The Skatalites,
Frankie Knuckles,
Organ,
Black Pus,
The Mighty Diamonds,
Ultravox,
The Selecter,
Shoche,
Minutemen,
Hasil Adkins,
The Neon Judgement,
Jerry's Kids,
Gong,
Bang on a Can All-Stars,
Pere Ubu,
Lou Reed,
Marc Romboy vs. Booka Shade,
Moebius,
Guru Guru,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.