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 Marshall Islands and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
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 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 Cecil Taylor to the crunk kids.
I played it at the Hacienda.
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 Bluetip. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Skarface,
Agent Orange,
DJ Sneak,
Soft Machine,
Al Stewart,
Mary Jane Girls,
Altered Images,
Thompson Twins,
Jandek,
The Victims,
F. McDonald,
Gang Green,
The Detroit Cobras,
The Zeros,
DJ Style,
Harmonia,
Wolf Eyes,
Man Parrish,
Todd Terry,
The Royal Family And The Poor,
Rapeman,
Quando Quango,
The Barracudas,
Buzzcocks,
Sun Ra Arkestra,
Sight & Sound,
Ken Boothe,
Robert Wyatt,
Quantec,
The Modern Lovers,
The Skatalites,
David Bowie,
The Index,
D'Angelo,
The Walker Brothers,
Ludus,
Michelle Simonal,
Delta 5,
James White and The Blacks,
The Stooges,
Warren Ellis,
Donny Hathaway,
Goldenarms,
Lower 48,
The Techniques,
The Searchers,
Fugazi,
Flash Fearless,
Ituana,
The Fuzztones,
The Litter,
Warsaw,
It's A Beautiful Day,
Jacques Brel,
Accadde A,
Black Moon,
Soul II Soul,
EPMD,
Scrapy,
Liliput, Liliput, Liliput, Liliput.
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.