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 Georgia and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Halifax.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 Oppenheimer Analysis to the dance 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 Banda Bassotti. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Dawn Penn 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 a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Slits 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?
Sugar Minott,
Vladislav Delay,
The Leaves,
Black Pus,
Big Daddy Kane,
ABC,
Echo & the Bunnymen,
The Mojo Men,
Ten City,
Crispian St. Peters,
ABBA,
The Modern Lovers,
Vainqueur,
Skarface,
Drexciya,
Sister Nancy,
Rites of Spring,
Donny Hathaway,
Lou Reed & John Cale,
DJ Sneak,
Sam Rivers,
Q and Not U,
Camouflage,
Harry Pussy,
Alice Coltrane,
Fela Kuti,
Gabor Szabo,
Television Personalities,
The Monks,
Laurel Aitken,
The Associates,
The Alarm Clocks,
F. McDonald,
Accadde A,
Bob Dylan,
PIL,
JFA,
John Coltrane,
the Human League,
Youth Brigade,
Pharaoh Sanders and the Fire Engines,
Bootsy's Rubber Band,
Albert Ayler,
Goldenarms,
Aaron Thompson,
Pharoah Sanders,
Darondo,
DeepChord presents Echospace,
Scratch Acid,
Nick Cave & The Bad Seeds,
Barrington Levy,
Kango’s Stein Massive,
The Golliwogs,
Liliput,
Technova,
Funky Four + One,
James Chance & The Contortions,
the Slits,
Arcadia,
Radiohead,
World's Most, World's Most, World's Most, World's Most.
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.