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 Mauritius and from Hong Kong.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school London 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 güiro 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 Audionom to the electroclash kids.
I played it at the Crocodile.
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 Justin Hinds & The Dominoes. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The American Breed 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson 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?
Masters at Work,
Archie Shepp,
Cymande,
Excepter,
Lightning Bolt,
The Fire Engines,
Country Joe & The Fish,
Average White Band,
Lafayette Afro Rock Band,
Bootsy Collins,
The Men They Couldn't Hang,
UT,
The Fugs,
Marmalade,
The Move,
Adolescents,
Throbbing Gristle,
Steve Hackett,
Carl Craig,
Letta Mbulu,
Marc Almond,
Donny Hathaway,
Joyce Sims,
Magazine,
Vainqueur,
Audionom,
the Sonics,
Flamin' Groovies,
Animal Collective,
Pantytec,
Selector Dub Narcotic,
Vaughan Mason & Crew,
The West Coast Pop Art Experimental Band,
The Skatalites,
Soft Cell,
Lou Christie,
Ronnie Foster,
Lalann,
The Mighty Diamonds,
Heavy D & The Boyz,
the Normal,
The Motions,
Severed Heads,
Robert Hood,
Funkadelic,
MC5,
Jeff Lynne,
The Fall,
DNA,
Fela Kuti,
China Crisis,
Glambeats Corp.,
Susan Cadogan,
The Happenings,
The Durutti Column,
Massinfluence,
Bauhaus,
Dual Sessions,
T.S.O.L.,
EPMD,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.