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 Indonesia and from Houston.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Salvador and Lyon.
I'm losing my edge to the art-school Cairo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Charles Mingus to the electroclash 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 James Chance & The Contortions. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
OOIOO,
John Coltrane,
Lou Christie,
Bobbi Humphrey,
Arab on Radar,
Negative Approach,
Roxy Music,
Sparks,
Reagan Youth,
Talk Talk,
Josef K,
Wolf Eyes,
Bauhaus,
Intrusion,
John Lydon,
Porter Ricks,
Can,
Fat Boys,
The Five Americans,
Lower 48,
The Shadows of Knight,
T.S.O.L.,
X-101,
Lalann,
Rowland S Howard / Lydia Lunch,
Robert Hood,
Bang On A Can,
The Beau Brummels,
Angry Samoans,
Blossom Toes,
Crash Course in Science,
Dual Sessions,
Ponytail,
Gabor Szabo,
Johnny Osbourne,
Au Pairs,
Jesper Dahlback,
Joe Smooth,
Glambeats Corp.,
Quadrant,
Eric B and Rakim,
The Dead C,
Banda Bassotti,
Iggy Pop,
The Fortunes,
Althea and Donna,
Drive Like Jehu,
Minutemen,
The Count Five,
Jacob Miller,
Lou Reed & Metallica,
The Dirtbombs,
Freddie Wadling,
Stockholm Monsters,
Selector Dub Narcotic,
Tubeway Army,
Cameo,
the Bar-Kays,
Kayak,
Rapeman, Rapeman, Rapeman, Rapeman.
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.