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 Turkmenistan and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Houston and Seoul.
I'm losing my edge to the art-school Houston 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 David Bowie 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 Spoonie Gee 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 Harry Pussy. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Glambeats Corp. 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
The Gladiators,
Crime,
Dual Sessions,
Symarip,
Gil Scott Heron,
Richard Hell and the Voidoids,
Colin Newman,
Rhythm & Sound,
James White and The Blacks,
Make Up,
Swell Maps,
Lalann,
Saccharine Trust,
Mr. Review,
Kerri Chandler,
Alton Ellis,
The Young Rascals,
Cymande,
La Düsseldorf,
Boredoms,
The Real Kids,
The Names,
Rites of Spring,
Quando Quango,
Juan Atkins,
Cal Tjader,
The Moleskins,
Ralphi Rosario,
The Last Poets,
Nico,
New Order,
The Five Americans,
The Techniques,
Avey Tare's Slasher Flicks,
Fear,
The Searchers,
Lindisfarne,
Aswad,
Grandmaster Flash,
Oblivians,
Louis and Bebe Barron,
Chris & Cosey,
Sonny Sharrock,
The Dirtbombs,
Drexciya,
Roy Ayers Ubiquity,
Black Sheep,
Q and Not U,
Depeche Mode,
Electric Light Orchestra,
Von Mondo,
Brothers Johnson,
Royal Trux,
Eric Dolphy,
The Red Krayola,
Sarah Menescal,
Kenny Larkin,
Art Ensemble Of Chicago,
Black Flag,
Black Moon,
Flamin' Groovies,
The West Coast Pop Art Experimental Band,
The Count Five, The Count Five, The Count Five, The Count Five.
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.