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 Egypt and from Winnipeg.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Stooges 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 Gang of Four. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Scrapy 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Young Marble Giants,
Amazonics,
Ajijia Myrayebe,
Leonard Cohen,
8 Eyed Spy,
Connie Case,
The Grass Roots,
DJ Sneak,
Bronski Beat,
Agent Orange,
Drive Like Jehu,
Dennis Brown,
New Age Steppers,
Bootsy's Rubber Band,
Albert Ayler,
Faraquet,
the Soft Cell,
Chrome,
Johnny Clarke,
Tommy Roe,
Nils Olav,
Altered Images,
Pylon,
Monks,
Shoche,
Essential Logic,
The Evens,
The Peanut Butter Conspiracy,
The Five Americans,
Cameo,
Soul II Soul,
Arcadia,
Loose Ends,
Derrick May,
Ken Boothe,
Ash Ra Tempel,
Howard Jones,
A Certain Ratio,
The Techniques,
The Zeros,
Archie Shepp,
Rahsaan Roland Kirk,
The Searchers,
Index,
Wally Richardson,
Grauzone,
The Chocolate Watch Band,
Peter Gordon & Love of Life Orchestra,
Brothers Johnson,
Black Sheep,
The Standells,
Charles Mingus,
Suburban Knight,
The Stooges,
James White and The Blacks,
Matthew Halsall,
Joensuu 1685,
Los Fastidios,
Radio Birdman,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.