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 Peru and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Delhi and Mumbai.
I'm losing my edge to the art-school Milan 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 guitar 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 Grandmaster Flash and the Furious Five to the funk kids.
I played it at Trash.
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 Skarface. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Scott Walker,
Barry Ungar,
Metal Thangz,
Arab on Radar,
New Age Steppers,
Sly & The Family Stone,
Con Funk Shun,
Max Romeo,
Marcia Griffiths,
Angry Samoans,
Saccharine Trust,
Y Pants,
The Gories,
Sight & Sound,
The Mighty Diamonds,
Television,
The Cramps,
The Dead C,
Jacob Miller,
Essential Logic,
Alton Ellis,
Zero Boys,
Ten City,
Moebius,
Index,
Chrome,
Bob Dylan,
Wings,
Guru Guru,
Lizzy Mercier Descloux,
Sixth Finger,
Gary Puckett & The Union Gap,
Interpol,
Nick Cave & The Bad Seeds,
Crispian St. Peters,
Easy Going,
Tim Buckley,
Joey Negro,
Laurel Aitken,
Ash Ra Tempel,
Bluetip,
The Human League,
Sex Pistols,
Loose Ends,
World's Most,
Soft Machine,
Radio Birdman,
Aural Exciters,
Deakin,
One Last Wish,
Warren Ellis,
Fad Gadget,
New York Dolls,
Ludus,
Jawbox,
Bush Tetras,
Public Image Ltd.,
It's A Beautiful Day,
Soul Sonic Force,
Lou Reed & John Cale,
Maurizio, Maurizio, Maurizio, Maurizio.
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.