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 Netherlands and from London.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1979.
I'm losing my edge.
To all the kids in Glasgow and Mumbai.
I'm losing my edge to the art-school Bologna 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 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 The Doors to the disco 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 Harry Pussy. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Oneida 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 '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Echospace,
June Days,
Main Source,
Jawbox,
AZ,
Andrew Hill,
Connie Case,
Arthur Verocai,
Zero Boys,
Bobby Womack,
Matthew Halsall,
Flamin' Groovies,
The Saints,
Model 500,
the Swans,
The Grass Roots,
Notorious Big And Bone Thugs,
Roger Hodgson,
Organ,
John Foxx,
Röyhkä ja Rättö ja Lehtisalo,
Hardrive,
John Lydon,
Peter Gordon & Love of Life Orchestra,
The Index,
Boogie Down Productions,
Accadde A,
Fugazi,
Das Ding,
Hoover,
Aaron Thompson,
Selector Dub Narcotic,
B.T. Express,
The Black Dice,
Janne Schatter,
Stockholm Monsters,
Excepter,
Black Pus,
Rhythm & Sound,
Darondo,
Amon Düül II,
The Slits,
Thompson Twins,
Qualms,
Livin' Joy,
The Misunderstood,
Lalo Schifrin,
KRS-One,
The Kinks,
Tomorrow,
Grauzone,
Pantaleimon,
Minnie Riperton,
Ronan,
Joyce Sims,
Aswad,
Vaughan Mason & Crew,
Tres Demented,
Gichy Dan,
Kenny Larkin,
The Gap Band,
Kas Product,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.