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 Burundi and from New York.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Delhi and Calgary.
I'm losing my edge to the art-school Columbus 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 guitar 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 The Music Machine to the dance kids.
I played it at the Roxy.
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 Sonny Sharrock. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Throbbing Gristle,
Country Teasers,
DeepChord presents Echospace,
Lizzy Mercier Descloux,
Magma,
Kool Moe Dee,
The Moleskins,
The Star Department,
Sex Pistols,
Procol Harum,
H. Thieme,
Sandy B,
Donald Byrd,
The Gap Band,
The Doors,
Roxy Music,
The New Christs,
The Raincoats,
Talk Talk,
La Düsseldorf,
The Fire Engines,
Bluetip,
Q and Not U,
Skriet,
Terry Callier,
Easy Going,
Lungfish,
Pharaoh Sanders and the Fire Engines,
Echospace,
K-Klass,
The Trojans,
Gong,
The Shadows of Knight,
Joe Finger,
Sister Nancy,
Skaos,
U.S. Maple,
Mo-Dettes,
Joe Smooth,
Ponytail,
Unrelated Segments,
The Peanut Butter Conspiracy,
Justin Hinds & The Dominoes,
Delta 5,
New York Dolls,
The Searchers,
Camberwell Now,
Morten Harket,
Marine Girls,
the Bar-Kays,
Dorothy Ashby,
Joy Division,
The Vogues,
Visionaries,LMNO, T- Love & Iriscience,
Camouflage,
Yellowson,
Scott Walker,
Junior Murvin,
MDC,
Judy Mowatt,
Bill Near,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.