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 Ivory Coast and from Stockholm.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Columbus.
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 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 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 The Jesus and Mary Chain to the punk 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 Moss Icon. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Sad Lovers and Giants,
the Fania All-Stars,
Alton Ellis,
the Normal,
The Buckinghams,
Ludus,
The Remains,
Matthew Halsall,
Lindisfarne,
Bad Manners,
B.T. Express,
Thee Headcoats,
A Flock of Seagulls,
The Black Dice,
DJ Style,
Nas,
Roxy Music,
Nico,
Marvin Gaye,
Chrome,
Siouxsie and the Banshees,
New York Dolls,
Sexual Harrassment,
Depeche Mode,
Panda Bear,
kango's stein massive,
Negative Approach,
Bill Wells,
Chris Corsano,
Little Man,
Super Lover Cee & Casanova Rud,
Section 25,
Glambeats Corp.,
Rufus Thomas,
Minor Threat,
Camouflage,
EPMD,
Crime,
Metal Thangz,
Faust,
Michelle Simonal,
Danielle Patucci,
Brass Construction,
Grey Daturas,
Pharaoh Sanders and the Fire Engines,
June Days,
Swans,
James Chance & The Contortions,
Monks,
Flash Fearless,
Peter & Gordon,
The Sonics,
Avey Tare & Kría Brekkan,
Freddie Wadling,
Agent Orange,
Patti Smith,
Mo-Dettes,
Arab on Radar,
Ultimate Spinach,
Bobby Byrd,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.