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 Ecuador 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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Bremen.
I'm losing my edge to the art-school Lyon 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Blake Baxter to the funk kids.
I played it at Trash.
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 Tres Demented. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal grunge 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Patti Smith,
The Golliwogs,
Bluetip,
Soul II Soul,
Stockholm Monsters,
Masters at Work,
Avey Tare,
Lower 48,
Public Image Ltd.,
Peter & Gordon,
the Slits,
The Electric Prunes,
Sun City Girls,
Barbara Tucker,
The Sisters of Mercy,
Fat Boys,
Bronski Beat,
Panda Bear,
The Divine Comedy,
The United States of America,
Eyeless In Gaza,
It's A Beautiful Day,
Agitation Free,
Skaos,
Nirvana,
Tim Buckley,
Jandek,
The Zeros,
Peter Gordon & Love of Life Orchestra,
Agent Orange,
Bill Near,
The Fugs,
Animal Collective,
Roy Ayers Ubiquity,
8 Eyed Spy,
Smog,
Red Lorry Yellow Lorry,
One Last Wish,
Bang on a Can All-Stars,
The Gladiators,
Boredoms,
Bootsy's Rubber Band,
Hashim,
Beasts of Bourbon,
Danielle Patucci,
The Sound,
Country Teasers,
The Remains,
Saccharine Trust,
Bizarre Inc.,
Model 500,
Lyres,
The Black Dice,
Siglo XX,
Harry Pussy,
Todd Terry,
Roxy Music,
Bad Manners,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.