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 Guinea and from Mexico City.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Toronto and Calgary.
I'm losing my edge to the art-school Seoul 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 Lou Reed 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 Drive Like Jehu to the disco kids.
I played it at the Spitz.
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 Selector Dub Narcotic. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Jesper Dahlback,
Erasure,
Talk Talk,
Flipper,
Nick Fraelich,
Zapp,
Easy Going,
New Order,
Wolf Eyes,
The Five Americans,
Toni Rubio,
The Men They Couldn't Hang,
Rekid,
Alton Ellis,
Neil Young & Crazy Horse,
Index,
The Monochrome Set,
Make Up,
Panda Bear,
Q and Not U,
Sarah Menescal,
Lizzy Mercier Descloux,
Ludus,
Tubeway Army,
Rakim,
Negative Approach,
Röyhkä ja Rättö ja Lehtisalo,
The Seeds,
Jimmy McGriff,
Motorama,
Fugazi,
Ossler,
LL Cool J,
Maleditus Sound,
Robert Görl,
R.M.O.,
Au Pairs,
Essential Logic,
Metal Thangz,
Siouxsie and the Banshees,
A Certain Ratio,
Roxette,
Kerrie Biddell,
Cecil Taylor,
Avey Tare & Kría Brekkan,
Boogie Down Productions,
Howard Jones,
Cal Tjader,
Trumans Water,
Kauko Röyhkä ja Narttu,
Intrusion,
Moby Grape,
Godley & Creme,
Eli Mardock,
John Holt,
Camberwell Now,
Animal Collective,
The Flesh Eaters,
Mad Mike,
Barry Ungar,
June Days,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.