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 Gambia and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Winnipeg 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Jesus and Mary Chain to the jazz kids.
I played it at the Astoria.
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 Sound Behaviour. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pet Shop Boys,
Agent Orange,
L. Decosne,
Camberwell Now,
Nick Cave & The Bad Seeds,
Barrington Levy,
Niagra,
Lizzy Mercier Descloux,
FM Einheit,
The Durutti Column,
Gian Franco Pienzio,
Section 25,
PIL,
The Move,
Average White Band,
Vladislav Delay,
Avey Tare & Kría Brekkan,
Angry Samoans,
The Gun Club,
Porter Ricks,
Hasil Adkins,
Fifty Foot Hose,
X-101,
Popol Vuh,
Howard Jones,
Trumans Water,
The Velvet Underground,
Rod Modell,
Nation of Ulysses,
A Flock of Seagulls,
The United States of America,
the Swans,
The Young Rascals,
Donald Byrd,
Loose Ends,
Blancmange,
Ronnie Foster,
The Divine Comedy,
LL Cool J,
CMW,
Skriet,
Japan,
Rufus Thomas,
Pantaleimon,
Sun Ra Arkestra,
Zero Boys,
Soft Machine,
Moss Icon,
The Seeds,
The Leaves,
Dark Day,
Zapp,
Marine Girls,
Essential Logic,
Harpers Bizarre,
Godley & Creme,
The Slackers,
Deadbeat,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.