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 Ireland and from Jakarta.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar 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 Patti Smith to the crunk kids.
I played it at the Spitz.
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 Model 500. All the underground hits.
All PIL tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Alton Ellis,
Peter Gordon & Love of Life Orchestra,
T.S.O.L.,
Blake Baxter,
Bad Manners,
Robert Hood,
Man Eating Sloth,
London Community Gospel Choir,
Avey Tare & Kría Brekkan,
Hasil Adkins,
Liaisons Dangereuses,
The Associates,
Swans,
The Knickerbockers,
Depeche Mode,
Suicide,
Röyhkä ja Rättö ja Lehtisalo,
Ossler,
Gian Franco Pienzio,
Bobby Hutcherson,
The Mummies,
Minor Threat,
Matthew Halsall,
Teenage Jesus and the Jerks,
Sun City Girls,
The Chocolate Watch Band,
Outsiders,
Pharaoh Sanders and the Fire Engines,
Ken Boothe,
This Heat,
The Blues Magoos,
Visionaries,LMNO, T- Love & Iriscience,
Public Image Ltd.,
The Standells,
Second Layer,
Lou Reed,
Bronski Beat,
The Star Department,
Pussy Galore,
Fifty Foot Hose,
Wolf Eyes,
Public Enemy,
The Monks,
Dorothy Ashby,
World's Most,
Gabor Szabo,
Rakim,
Siglo XX,
Cameo,
Masters at Work,
Yusef Lateef,
Schoolly D,
Animal Collective,
The Motions,
Josef K,
Piero Umiliani,
Dave Gahan,
Strawberry Alarm Clock,
Scientists,
China Crisis,
Monolake, Monolake, Monolake, Monolake.
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.