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 Nigeria and from Bremen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Lille 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 spring reverb 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 The Walker Brothers to the dance 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 Liaisons Dangereuses. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every PIL 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 '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Sight & Sound,
Gang Starr,
Frankie Knuckles,
The Jesus and Mary Chain,
Archie Shepp,
Brick,
Thompson Twins,
Little Man,
DNA,
Grauzone,
Jerry Gold Smith,
Albert Ayler,
EPMD,
Ash Ra Tempel,
Robert Hood,
Circle Jerks,
Echo & the Bunnymen,
Kool Moe Dee,
The Names,
FM Einheit,
Gian Franco Pienzio,
JFA,
Ultimate Spinach,
Junior Murvin,
Lee Hazlewood,
The Cosmic Jokers,
June of 44,
Monolake,
David Axelrod,
Roxette,
Nas,
Marshall Jefferson,
Orchestral Manoeuvres in the Dark,
Minutemen,
Fort Wilson Riot,
Eric Copeland,
Groovy Waters,
Amazonics,
The Toasters,
Wasted Youth,
The Blues Magoos,
Symarip,
The Monochrome Set,
Erasure,
Iggy Pop,
Bad Manners,
Television Personalities,
The United States of America,
Sister Nancy,
John Foxx,
The Raincoats,
Roxy Music,
a-ha,
Tropical Tobacco,
Lou Christie,
The Buckinghams,
Danielle Patucci,
Peter Gordon & Love of Life Orchestra,
Carl Craig,
The Gladiators,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.