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 Guinea and from Accra.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Calgary and Beijing.
I'm losing my edge to the art-school Spokane 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Unwound to the grunge kids.
I played it at the Astoria.
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 Bluetip. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Dual Sessions,
Lightning Bolt,
Camberwell Now,
Althea and Donna,
Quadrant,
Circle Jerks,
Albert Ayler,
Eve St. Jones,
The Names,
The Smoke,
Lou Reed,
Public Image Ltd.,
the Bar-Kays,
Shuggie Otis,
Warsaw,
Drive Like Jehu,
Banda Bassotti,
T.S.O.L.,
F. McDonald,
Jeff Mills,
Scott Walker,
Angels of Light & Akron/Family,
Fifty Foot Hose,
Johnny Osbourne,
Scrapy,
Desert Stars,
Mo-Dettes,
New York Dolls,
Bootsy Collins,
In Retrospect,
the Normal,
Notorious Big And Bone Thugs,
Nico,
Lou Reed & John Cale,
Moss Icon,
Ornette Coleman,
Erykah Badu,
Justin Hinds & The Dominoes,
The Trojans,
The Blues Magoos,
The Men They Couldn't Hang,
Sound Behaviour,
Cybotron,
48th St. Collective,
DJ Style,
Au Pairs,
The Durutti Column,
Gastr Del Sol,
Suburban Knight,
Howard Jones,
Negative Approach,
Pylon,
Gil Scott-Heron & Brian Jackson,
The Smiths,
Amon Düül II,
Sexual Harrassment,
John Foxx,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.