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 Korea North and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Accra 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 rhodes 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 Qualms to the techno 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 John Holt. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Lizzy Mercier Descloux,
It's A Beautiful Day,
L. Decosne,
The Raincoats,
Parry Music,
Sight & Sound,
The Tremeloes,
The Knickerbockers,
The Golliwogs,
The Red Krayola,
Traffic Nightmare,
U.S. Maple,
Kevin Saunderson,
The Barracudas,
Gichy Dan,
The Moleskins,
Gastr Del Sol,
DeepChord presents Echospace,
Joyce Sims,
Junior Murvin,
the Normal,
Saccharine Trust,
Isaac Hayes,
The Human League,
Spoonie Gee,
The Happenings,
Davy DMX,
Quantec,
Soul II Soul,
Little Man,
Ash Ra Tempel,
Audionom,
Blancmange,
Franke,
Bootsy Collins,
Selector Dub Narcotic,
Section 25,
The Divine Comedy,
Babytalk,
Motorama,
ABC,
The Slackers,
Eric B and Rakim,
Schoolly D,
Qualms,
Depeche Mode,
Los Fastidios,
Bad Manners,
Bang On A Can,
Gang Gang Dance,
The Misunderstood,
Kool G Rap & DJ Polo,
Black Flag,
Sandy B,
Harmonia,
Josef K,
Wasted Youth,
Lakeside,
David Bowie,
Lonnie Liston Smith,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.