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 Togo and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Lille 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 mellotron 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 Simply Red to the jazz 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 James Chance & The Contortions. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Hardrive,
Grandmaster Flash and the Furious Five,
Johnny Clarke,
Fat Boys,
Peter and Kerry,
CMW,
Parry Music,
Gian Franco Pienzio,
Archie Shepp,
Scratch Acid,
Davy DMX,
Kevin Saunderson,
Pet Shop Boys,
cv313,
Deakin,
Eve St. Jones,
Camouflage,
Model 500,
Bang On A Can,
Boredoms,
Eyeless In Gaza,
Theoretical Girls,
The Index,
Nils Olav,
Jeru the Damaja,
China Crisis,
Black Flag,
Scrapy,
Schoolly D,
Dorothy Ashby,
Kas Product,
The Young Rascals,
The Sonics,
Barbara Tucker,
The Dave Clark Five,
The Busters,
FM Einheit,
Sad Lovers and Giants,
Royal Trux,
Sällskapet,
Bobby Sherman,
It's A Beautiful Day,
Bob Dylan,
Iggy Pop,
L. Decosne,
Magazine,
The Pop Group,
Rufus Thomas,
Absolute Body Control,
Warren Ellis,
The Fugs,
The Jesus and Mary Chain,
Mars,
E-Dancer,
Thinking Fellers Union Local 282,
Can,
F. McDonald,
B.T. Express,
The Trojans,
T. Rex,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.