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 Kiribati and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1979.
I'm losing my edge.
To all the kids in Winnipeg and Accra.
I'm losing my edge to the art-school Houston 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 mellotron 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 Sad Lovers and Giants to the dance kids.
I played it at the Troubador.
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 David Axelrod. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Sex Pistols,
Kango’s Stein Massive,
the Germs,
The Monochrome Set,
Cabaret Voltaire,
Visage,
Colin Newman,
Sly & The Family Stone,
The Smiths,
The Electric Prunes,
Kool G Rap & DJ Polo,
B.T. Express,
Funkadelic,
The Jesus and Mary Chain,
Sam Rivers,
Sad Lovers and Giants,
L. Decosne,
Eyeless In Gaza,
Andrew Hill,
KRS-One,
The United States of America,
Glambeats Corp.,
Niagra,
T. Rex,
the Association,
Groovy Waters,
Absolute Body Control,
Vainqueur,
The Evens,
Eric B and Rakim,
the Slits,
Tim Buckley,
Amazonics,
ABBA,
Liaisons Dangereuses,
De La Soul & Jungle Brothers,
Jerry's Kids,
Brass Construction,
The Stooges,
The Litter,
John Holt,
Jesper Dahlbäck,
Excepter,
Angry Samoans,
Pete Rock & C.L. Smooth,
Danielle Patucci,
Steve Hackett,
Sight & Sound,
Deakin,
Aaron Thompson,
Angels of Light & Akron/Family,
a-ha,
The Victims,
Alison Limerick,
Public Image Ltd.,
Joyce Sims,
Fluxion,
Avey Tare's Slasher Flicks,
World's Most,
Slick Rick,
Easy Going,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.