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 Lithuania and from Stockholm.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Jakarta 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Ultravox to the grunge 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 Jimmy McGriff. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Sound Behaviour 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Scion,
Toni Rubio,
The Golliwogs,
The Real Kids,
The Birthday Party,
Altered Images,
Porter Ricks,
Alison Limerick,
Andrew Hill,
Funkadelic,
Derrick May,
Kango’s Stein Massive,
New York Dolls,
Chris Corsano,
Half Japanese,
David Axelrod,
Soulsonic Force,
China Crisis,
Art Ensemble Of Chicago,
Terrestrial Tones,
Wire,
Dead Boys,
The American Breed,
Pierre Henry,
Warsaw,
The Sound,
Bizarre Inc.,
PIL,
DJ Style,
Grey Daturas,
Kerrie Biddell,
Ornette Coleman,
Aswad,
Sad Lovers and Giants,
Marcia Griffiths,
Prince Buster,
Lou Christie,
Rhythm & Sound,
Erasure,
The Litter,
Pantytec,
Magazine,
Moby Grape,
Jeff Mills,
The Royal Family And The Poor,
Minnie Riperton,
Pantaleimon,
Saccharine Trust,
Kas Product,
June Days,
Stereo Dub,
The Standells,
Masters at Work,
Fatback Band,
Oblivians,
Suicide,
The Names,
Rowland S Howard / Lydia Lunch,
Qualms,
Marc Almond,
Ten City, Ten City, Ten City, Ten City.
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.