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 Tuvalu and from Accra.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 June Days to the disco 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 Last Poets. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every The Sonics 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Visage,
T.S.O.L.,
Tom Boy,
Kool G Rap & DJ Polo,
Robert Wyatt,
Nik Kershaw,
The Gladiators,
Pole,
Bang on a Can All-Stars,
The Index,
Oppenheimer Analysis,
The Neon Judgement,
Roxette,
The Music Machine,
The Young Rascals,
Girls At Our Best!,
Animal Collective,
Hardrive,
Sound Behaviour,
Fela Kuti,
Black Bananas,
Parry Music,
Tomorrow,
Joyce Sims,
Jeff Lynne,
Ohio Players,
Harmonia,
Slick Rick,
Art Ensemble Of Chicago,
John Coltrane,
Lyres,
Tim Buckley,
The Knickerbockers,
Kaleidoscope,
The Moleskins,
Intrusion,
Gang Green,
The Motions,
Minutemen,
Theoretical Girls,
Mary Jane Girls,
Marc Almond,
La Düsseldorf,
Sällskapet,
Dr. Dre and Snoop Doggy Dog,
Chrome,
Spandau Ballet,
Scrapy,
Peter Gordon & Love of Life Orchestra,
Juan Atkins,
The Cosmic Jokers,
Soft Machine,
Rotary Connection,
Captain Beefheart & His Magic Band,
In Retrospect,
Fugazi,
Black Pus,
Matthew Bourne,
Louis and Bebe Barron,
Brick, Brick, Brick, Brick.
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.