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 Jordan and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Paris 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Thee Headcoats to the electroclash 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 Erykah Badu. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Roy Ayers 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Yusef Lateef,
Stockholm Monsters,
Banda Bassotti,
Bang on a Can All-Stars,
Ultra Naté,
Brick,
Hardrive,
Suburban Knight,
Wings,
Graham Central Station,
The Pop Group,
The Smiths,
Bill Wells,
The Gories,
Jerry Gold Smith,
Notorious BIG live in Amsterdam,
The Blackbyrds,
Johnny Clarke,
Bootsy Collins,
Procol Harum,
Girls At Our Best!,
Crispy Ambulance,
Index,
Lalo Schifrin,
Godley & Creme,
Tears for Fears,
Neil Young & Crazy Horse,
Roy Ayers Ubiquity,
Tres Demented,
Dark Day,
The Fall,
Bauhaus,
Funkadelic,
Pierre Henry,
Lebanon Hanover,
T. Rex,
10cc,
Rowland S Howard / Lydia Lunch,
Subhumans,
Easy Going,
Albert Ayler,
The Techniques,
Vaughan Mason & Crew,
X-102,
Warren Ellis,
The Barracudas,
Bobby Womack,
Rekid,
Public Enemy,
The Durutti Column,
Audionom,
Brass Construction,
Pete Rock & C.L. Smooth,
Country Teasers,
Q65,
Severed Heads,
The Mojo Men,
The Slackers, The Slackers, The Slackers, The Slackers.
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.