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 Zambia and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Accra and Taipei.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 Ultravox to the funk kids.
I played it at the Roxy.
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 Henry Cow. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every The Mummies 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
ABC,
Chris Corsano,
DJ Style,
Moby Grape,
Young Marble Giants,
Mr. Review,
Little Man,
Super Lover Cee & Casanova Rud,
The Techniques,
The Fortunes,
Talk Talk,
Eurythmics,
The Detroit Cobras,
Accadde A,
Notorious Big And Bone Thugs,
Gong,
Jesper Dahlback,
E-Dancer,
Kevin Saunderson,
Al Stewart,
The Move,
Saccharine Trust,
Ornette Coleman,
Alice Coltrane,
The Shadows of Knight,
Davy DMX,
Das Ding,
Strawberry Alarm Clock,
Mission of Burma,
F. McDonald,
Todd Rundgren,
Oppenheimer Analysis,
Main Source,
Unwound,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Electric Light Orchestra,
The Blackbyrds,
Lakeside,
Marc Romboy vs. Booka Shade,
Massinfluence,
The Modern Lovers,
Scott Walker + Sunn O))),
Rapeman,
Half Japanese,
Nas,
Sonic Youth,
B.T. Express,
the Slits,
John Holt,
Avey Tare & Kría Brekkan,
Althea and Donna,
Derrick May,
Aural Exciters,
Erykah Badu,
Rowland S Howard / Lydia Lunch,
Blake Baxter,
Dorothy Ashby,
Lizzy Mercier Descloux,
The Index,
Ash Ra Tempel,
Gary Puckett & The Union Gap,
Ossler,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.