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 Chad and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Woodstock and Halifax.
I'm losing my edge to the art-school Taipei 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Eric Copeland to the grime kids.
I played it at the 40 Watt.
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 Schoolly D. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Bill Wells record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Mo-Dettes,
Big Daddy Kane,
Kas Product,
Moby Grape,
Man Eating Sloth,
Fifty Foot Hose,
Rowland S Howard / Lydia Lunch,
The Names,
Anakelly,
Nick Cave & The Bad Seeds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeff Mills,
Ultravox,
The Zeros,
Röyhkä ja Rättö ja Lehtisalo,
Max Romeo,
The Blues Magoos,
Vaughan Mason & Crew,
Erasure,
The Gun Club,
Funkadelic,
Scion,
Flipper,
The Fire Engines,
Chris & Cosey,
Rotary Connection,
Delon & Dalcan,
Black Bananas,
Interpol,
Larry & the Blue Notes,
Sugar Minott,
The Mummies,
Delta 5,
T. Rex,
Jawbox,
The Detroit Cobras,
David McCallum,
Trumans Water,
Ten City,
Stetsasonic,
The Busters,
Eli Mardock,
Moss Icon,
Notorious Big And Bone Thugs,
Vainqueur,
Siglo XX,
Reagan Youth,
the Germs,
Lightning Bolt,
Animal Collective,
Gang of Four,
Kerri Chandler,
Flamin' Groovies,
Deakin,
Gang Starr,
Tomorrow,
Barry Ungar,
Alison Limerick,
Ajijia Myrayebe,
Dead Boys,
Fluxion,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.