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 Saudi Arabia and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Hardrive to the crunk 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 Iggy Pop. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Amon Düül II 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Underground Resistance,
Marc Almond,
Roxy Music,
Peter and Kerry,
Popol Vuh,
Maurizio,
Eyeless In Gaza,
These Immortal Souls,
Deakin,
Mad Mike,
Hot Snakes,
Mantronix,
Aural Exciters,
Magma,
Gang of Four,
The Tremeloes,
Al Stewart,
John Cale,
The Monochrome Set,
Flash Fearless,
Matthew Bourne,
June Days,
Neil Young & Crazy Horse,
Rotary Connection,
T.S.O.L.,
Nirvana,
Aaron Thompson,
Heavy D & The Boyz,
Saccharine Trust,
Jeru the Damaja,
Animal Collective,
Erykah Badu,
Justin Hinds & The Dominoes,
Zapp,
Smog,
Malaria!,
Nico,
Accadde A,
Art Ensemble Of Chicago,
Rites of Spring,
Boogie Down Productions,
Avey Tare,
Moebius,
Robert Wyatt,
Sam Rivers,
Kenny Larkin,
Newcleus,
Curtis Mayfield,
Skaos,
Organ,
The United States of America,
Gang Gang Dance,
Pere Ubu,
Gil Scott-Heron & Brian Jackson,
James White and The Blacks,
Don Cherry,
The Martian,
The Smiths,
KRS-One,
Neu!,
La Düsseldorf,
Ultravox, Ultravox, Ultravox, Ultravox.
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.