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 Latvia and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Isaac Hayes to the electroclash kids.
I played it at the Roxy.
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 Shuggie Otis. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every The Seeds 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Eli Mardock,
Faraquet,
Janne Schatter,
Terror Squad Feat. Camron,
Half Japanese,
Quantec,
Fifty Foot Hose,
Sällskapet,
Roxette,
Hoover,
D'Angelo,
Heaven 17,
World's Most,
the Human League,
KRS-One,
Terry Callier,
The Fire Engines,
Rites of Spring,
The Slits,
James White and The Blacks,
The Pop Group,
Delon & Dalcan,
Bronski Beat,
It's A Beautiful Day,
Silicon Teens,
Kings Of Tomorrow,
Ossler,
Radiohead,
Essential Logic,
Spoonie Gee,
James Chance & The Contortions,
DNA,
Neil Young & Crazy Horse,
Girls At Our Best!,
Darondo,
The Five Americans,
Electric Light Orchestra,
Erasure,
Glambeats Corp.,
Eden Ahbez,
Sly & The Family Stone,
Tim Buckley,
Sound Behaviour,
Angels of Light & Akron/Family,
CMW,
Freddie Wadling,
Sun City Girls,
Tommy Roe,
Unwound,
Gichy Dan,
These Immortal Souls,
The Searchers,
The Index,
Ajijia Myrayebe,
Althea and Donna,
Radio Birdman,
Sarah Menescal,
The Barracudas,
The Fall,
The Flesh Eaters,
The Standells,
Rahsaan Roland Kirk,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.