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 Pakistan and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Make Up to the grime 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 Electric Light Orchestra. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Loose Ends 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Television,
Curtis Mayfield,
Fatback Band,
Richard Hell and the Voidoids,
Malaria!,
The Sisters of Mercy,
Au Pairs,
X-Ray Spex,
Al Stewart,
Pagans,
The Monks,
Josef K,
Cabaret Voltaire,
Morten Harket,
Magazine,
Isaac Hayes,
Delta 5,
Bobbi Humphrey,
Kevin Saunderson,
Marine Girls,
Darondo,
Bootsy's Rubber Band,
The Moleskins,
Ultra Naté,
The West Coast Pop Art Experimental Band,
John Lydon,
The Birthday Party,
Dark Day,
Dr. Dre and Snoop Doggy Dog,
Wolf Eyes,
Eric B and Rakim,
Cybotron,
Jesper Dahlbäck,
Essential Logic,
Red Lorry Yellow Lorry,
Gil Scott Heron,
Hardrive,
Japan,
Boogie Down Productions,
Warsaw,
Nick Cave & The Bad Seeds,
Graham Central Station,
The Barracudas,
The Angels of Light,
Grey Daturas,
Lebanon Hanover,
Chrome,
Prince Buster,
Sexual Harrassment,
The Star Department,
Organ,
One Last Wish,
The Cure,
Leonard Cohen,
Gastr Del Sol,
Technova,
Rahsaan Roland Kirk,
Dead Boys,
Electric Prunes,
Wire,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.