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 Albania and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
I'm losing my edge to the art-school Lille 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 clarinet 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 Terrestrial Tones to the punk kids.
I played it at the Astoria.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Nico 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Big Daddy Kane,
Minor Threat,
The Saints,
D'Angelo,
10cc,
Stockholm Monsters,
Eve St. Jones,
Clear Light,
Unwound,
The Walker Brothers,
Delon & Dalcan,
The Slackers,
Kenny Larkin,
The West Coast Pop Art Experimental Band,
Barclay James Harvest,
Young Marble Giants,
Liliput,
The Dave Clark Five,
Thinking Fellers Union Local 282,
Sound Behaviour,
Jandek,
The Moleskins,
The Standells,
Barrington Levy,
48th St. Collective,
Agitation Free,
Anakelly,
The Mojo Men,
Throbbing Gristle,
FM Einheit,
Siglo XX,
Brand Nubian,
Boz Scaggs,
R.M.O.,
Sly & The Family Stone,
Amon Düül II,
The Doors,
Quantec,
James White and The Blacks,
Faraquet,
Pere Ubu,
The Searchers,
Sunsets and Hearts,
Soft Machine,
Lizzy Mercier Descloux,
Isaac Hayes,
Buzzcocks,
The Move,
Laurel Aitken,
Ponytail,
the Slits,
China Crisis,
Toni Rubio,
Con Funk Shun,
Super Lover Cee & Casanova Rud,
Glambeats Corp.,
Cybotron,
Johnny Osbourne,
The Associates,
Henry Cow,
Roy Ayers,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.