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 Zambia and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1976.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Woodstock 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 Donald Fagen 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 disco kids.
I played it at the Troubador.
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 Can. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Raincoats record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Dorothy Ashby,
Ultimate Spinach,
AZ,
Avey Tare,
The Velvet Underground,
Sound Behaviour,
Kool G Rap & DJ Polo,
Darondo,
Sandy B,
X-Ray Spex,
Excepter,
Nirvana,
Make Up,
Nils Olav,
Cheater Slicks,
Ornette Coleman,
CMW,
Ten City,
Richard Hell and the Voidoids,
Bill Near,
FM Einheit,
Lightning Bolt,
Strawberry Alarm Clock,
Public Image Ltd.,
Colin Newman,
E-Dancer,
Ken Boothe,
Bobby Hutcherson,
The United States of America,
Half Japanese,
The Gladiators,
The Residents,
Brothers Johnson,
Barry Ungar,
Pagans,
Bobby Womack,
Kayak,
The Modern Lovers,
Second Layer,
Sun Ra Arkestra,
the Swans,
The Offenders,
The Dirtbombs,
Echo & the Bunnymen,
ABC,
Fatback Band,
A Flock of Seagulls,
Wolf Eyes,
The Invisible,
Silicon Teens,
Sly & The Family Stone,
Joensuu 1685,
The Happenings,
Pere Ubu,
Dave Gahan,
John Foxx,
The Shadows of Knight,
Buzzcocks,
Electric Prunes,
Sarah Menescal,
Curtis Mayfield,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.