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 Dominica and from Glasgow.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Woodstock 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 808 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 Gladiators to the techno kids.
I played it at the Hacienda.
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 Eli Mardock. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Monks,
Cameo,
Saccharine Trust,
John Coltrane,
Newcleus,
The Trojans,
The Dirtbombs,
Fear,
The Black Dice,
Procol Harum,
Roxette,
Agent Orange,
Orchestral Manoeuvres in the Dark,
Jawbox,
Bobby Sherman,
Joy Division,
48th St. Collective,
Depeche Mode,
Sandy B,
Sarah Menescal,
Grey Daturas,
PIL,
Franke,
Pole,
Laurel Aitken,
cv313,
The Raincoats,
Amazonics,
Cheater Slicks,
Faraquet,
Andrew Hill,
Alison Limerick,
The Gun Club,
H. Thieme,
Bobby Womack,
Gang Gang Dance,
The Slackers,
The Residents,
In Retrospect,
Siglo XX,
Fifty Foot Hose,
Girls At Our Best!,
Boredoms,
Unwound,
Todd Terry,
Aswad,
Pantaleimon,
8 Eyed Spy,
Aaron Thompson,
Joey Negro,
Lakeside,
Khruangbin,
Warsaw,
The Young Rascals,
Model 500,
The Seeds,
Eddi Front,
Television Personalities,
Matthew Bourne,
Essential Logic,
Camberwell Now,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.