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 Tunisia and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Mumbai.
I'm losing my edge to the art-school Columbus 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Angry Samoans to the electroclash kids.
I played it at the 40 Watt.
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 The Move. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Robert Wyatt,
Country Joe & The Fish,
Kango’s Stein Massive,
Fort Wilson Riot,
Gil Scott-Heron and Jamie xx,
Hot Snakes,
Man Parrish,
Laurel Aitken,
Franke,
The Young Rascals,
Monks,
John Foxx,
Aural Exciters,
Amazonics,
Barry Ungar,
Sonic Youth,
Camberwell Now,
Zapp,
Traffic Nightmare,
James Chance & The Contortions,
E-Dancer,
The Moody Blues,
The Fire Engines,
Rapeman,
Art Ensemble Of Chicago,
Connie Case,
Maleditus Sound,
Derrick Morgan,
Erykah Badu,
Motorama,
Glenn Branca,
Ajijia Myrayebe,
Duran Duran,
The Alarm Clocks,
Selector Dub Narcotic,
Jesper Dahlback,
Whodini,
The Mojo Men,
T. Rex,
the Swans,
New Order,
Bobby Byrd,
Rufus Thomas,
Don Cherry,
James White and The Blacks,
A Flock of Seagulls,
The Star Department,
Charles Mingus,
The Wake,
Accadde A,
Judy Mowatt,
Eli Mardock,
Sam Rivers,
Justin Hinds & The Dominoes,
Pharaoh Sanders and the Fire Engines,
Jacob Miller,
PIL,
Essential Logic,
Vaughan Mason & Crew,
Sister Nancy,
Röyhkä ja Rättö ja Lehtisalo,
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.