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 India and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Lagos.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Ice-T to the grunge kids.
I played it at CBGB's.
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 James Chance & The Contortions. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every The Cramps 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Section 25,
U.S. Maple,
Sun Ra Arkestra,
Darondo,
Royal Trux,
The Techniques,
Mad Mike,
Jimmy McGriff,
The Doobie Brothers,
Crash Course in Science,
The Pretty Things,
The Fall,
Infiniti,
Roxy Music,
The Motions,
Black Sheep,
Bluetip,
Rhythm & Sound,
Bauhaus,
Susan Cadogan,
The Slackers,
Japan,
Major Organ And The Adding Machine,
James White and The Blacks,
Vladislav Delay,
Lakeside,
Lonnie Liston Smith,
Pussy Galore,
The Stooges,
Alison Limerick,
Neu!,
Dorothy Ashby,
Big Daddy Kane,
Johnny Osbourne,
Agitation Free,
Erykah Badu,
The Mojo Men,
Pulsallama,
Röyhkä ja Rättö ja Lehtisalo,
Swans,
Ultramagnetic MC's,
PIL,
World's Most,
Jeff Mills,
Lebanon Hanover,
Althea and Donna,
Tomorrow,
DJ Style,
The United States of America,
Monks,
Soul Sonic Force,
Piero Umiliani,
Bang on a Can All-Stars,
Donny Hathaway,
Joensuu 1685,
Ash Ra Tempel,
Davy DMX,
Carl Craig,
Lou Reed & Metallica,
Bootsy's Rubber Band,
The Victims,
David McCallum, David McCallum, David McCallum, David McCallum.
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.