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 Montenegro and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1973.
I'm losing my edge.
To all the kids in Manila and Milan.
I'm losing my edge to the art-school Taipei 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 güiro 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 Standells 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 Stiv Bators. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal rap 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Model 500,
Chris & Cosey,
The Shadows of Knight,
Rekid,
Pere Ubu,
Teenage Jesus and the Jerks,
The Names,
Nirvana,
The Kinks,
The Flesh Eaters,
Patti Smith,
Au Pairs,
EPMD,
Negative Approach,
Dorothy Ashby,
Terror Squad Feat. Camron,
DJ Style,
Tres Demented,
Gabor Szabo,
Radiohead,
Skriet,
Kerrie Biddell,
The Blues Magoos,
E-Dancer,
Rhythim Is Rhythim,
Crooked Eye,
Quantec,
Roxette,
Sandy B,
Brick,
The Doors,
Gang of Four,
Hasil Adkins,
Kings Of Tomorrow,
David McCallum,
the Normal,
Thee Headcoats,
Crispian St. Peters,
Deepchord,
Terry Callier,
Captain Beefheart & His Magic Band,
Anakelly,
Massinfluence,
David Axelrod,
Brass Construction,
The Stooges,
The Royal Family And The Poor,
Bootsy Collins,
Skarface,
Dual Sessions,
John Coltrane,
Mark Hollis,
Essential Logic,
Barclay James Harvest,
Selector Dub Narcotic,
Lightning Bolt,
Lower 48,
Duran Duran,
X-101,
Babytalk,
Arthur Verocai,
Morten Harket,
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.