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 Lebanon and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Houston and Manila.
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 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 Neil Young & Crazy Horse to the disco kids.
I played it at the Crocodile.
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 Camberwell Now. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Crime,
The Mummies,
Con Funk Shun,
Bang on a Can All-Stars,
Supertramp,
Beasts of Bourbon,
Suicide,
Godley & Creme,
MC5,
Banda Bassotti,
The J.B.'s,
R.M.O.,
Erasure,
The Grass Roots,
Grey Daturas,
48th St. Collective,
Stiv Bators,
Oblivians,
The Men They Couldn't Hang,
Sister Nancy,
The Cramps,
Tom Boy,
The Blackbyrds,
Subhumans,
UT,
Robert Hood,
Sex Pistols,
Sound Behaviour,
Harmonia,
Mars,
Minor Threat,
Sun City Girls,
Faraquet,
Angry Samoans,
Strawberry Alarm Clock,
John Lydon,
Idris Muhammad,
Donald Byrd,
MDC,
Janne Schatter,
Crash Course in Science,
Theoretical Girls,
the Human League,
Eve St. Jones,
Susan Cadogan,
The Sonics,
Lindisfarne,
Cluster,
Crooked Eye,
Panda Bear,
Essential Logic,
Adolescents,
Absolute Body Control,
Chris Corsano,
Matthew Bourne,
The Count Five,
Flash Fearless,
Bill Wells,
Ultimate Spinach,
Swell Maps,
Barry Ungar,
Gregory Isaacs,
The Raincoats,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.