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 Switzerland and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school London 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 chamberlin 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 Section 25 to the punk 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 The Victims. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Avey Tare & Kría Brekkan,
Bootsy Collins,
Janne Schatter,
Y Pants,
48th St. Collective,
Nico,
Susan Cadogan,
Faraquet,
Scott Walker + Sunn O))),
Skarface,
the Human League,
Marc Romboy vs. Booka Shade,
Tom Boy,
Hardrive,
Roy Ayers,
The Durutti Column,
Kevin Saunderson,
The Walker Brothers,
Schoolly D,
MC5,
Camberwell Now,
MDC,
Country Joe & The Fish,
Desert Stars,
Mark Hollis,
Leonard Cohen,
Rod Modell,
Vladislav Delay,
Dennis Brown,
Negative Approach,
Goldenarms,
Sixth Finger,
Gil Scott Heron,
Darondo,
Rhythm & Sound,
Sex Pistols,
The Dead C,
Quadrant,
Marshall Jefferson,
Scientists,
Richard Hell and the Voidoids,
Boz Scaggs,
DNA,
Hasil Adkins,
Gregory Isaacs,
Soft Machine,
Cymande,
Soft Cell,
Marcia Griffiths,
Thinking Fellers Union Local 282,
Roxette,
Supertramp,
Monks,
Radio Birdman,
Heaven 17,
The Busters,
Sun Ra Arkestra,
Big Daddy Kane,
Ash Ra Tempel,
Pet Shop Boys,
Jimmy McGriff,
Blake Baxter,
The Residents, The Residents, The Residents, The Residents.
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.