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 Nepal and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Stockholm 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 sitar sounds with much patience.
I was there when Lou Reed 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 Sound to the electroclash 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 Electric Prunes. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every The Mummies 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 '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Warren Ellis,
The Durutti Column,
Mars,
cv313,
Spandau Ballet,
Rufus Thomas,
The Litter,
It's A Beautiful Day,
Avey Tare's Slasher Flicks,
Infiniti,
Swans,
Rhythm & Sound,
Junior Murvin,
Cal Tjader,
Freddie Wadling,
Gang of Four,
Deakin,
K-Klass,
Suburban Knight,
The Angels of Light,
The Toasters,
Sex Pistols,
AZ,
B.T. Express,
Gian Franco Pienzio,
Q and Not U,
Charles Mingus,
The Beau Brummels,
Crooked Eye,
Terry Callier,
Wighnomy Brothers & Robag Wruhme,
Deadbeat,
Tim Buckley,
The Smiths,
Archie Shepp,
Make Up,
Echospace,
Franke,
Thinking Fellers Union Local 282,
Hardrive,
Graham Central Station,
the Soft Cell,
The Cure,
Tubeway Army,
The Tremeloes,
Pere Ubu,
James Chance & The Contortions,
Jeff Lynne,
Susan Cadogan,
The Gap Band,
Ralphi Rosario,
Lindisfarne,
Wolf Eyes,
Gichy Dan,
Mad Mike,
KRS-One,
Boredoms,
Rapeman,
Lower 48,
Ken Boothe,
Oblivians,
Camouflage, Camouflage, Camouflage, Camouflage.
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.