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 Spain and from Columbus.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Tokyo 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 chamberlin 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 Marc Almond to the techno 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 This Heat. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thinking Fellers Union Local 282,
Alice Coltrane,
Oneida,
Dual Sessions,
Gichy Dan,
Michelle Simonal,
Wally Richardson,
The Moleskins,
Spandau Ballet,
Reuben Wilson,
Brick,
Danielle Patucci,
T. Rex,
Altered Images,
Can,
Mary Jane Girls,
Delon & Dalcan,
Smog,
Joensuu 1685,
Rod Modell,
Deepchord,
Johnny Clarke,
Vladislav Delay,
Audionom,
Barrington Levy,
Rhythim Is Rhythim,
Angels of Light & Akron/Family,
ABBA,
Derrick Morgan,
K-Klass,
John Coltrane,
Young Marble Giants,
Crispian St. Peters,
James Chance & The Contortions,
Dennis Brown,
June of 44,
Dead Boys,
MDC,
Magma,
Bronski Beat,
Lungfish,
Yusef Lateef,
Pet Shop Boys,
Morten Harket,
The Toasters,
Pussy Galore,
Orchestral Manoeuvres in the Dark,
Motorama,
Malaria!,
Sun Ra Arkestra,
Monolake,
Bobby Byrd,
Groovy Waters,
World's Most,
China Crisis,
Hasil Adkins,
Basic Channel,
Model 500,
Yaz,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.