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 Mexico and from Sao Paulo.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Bremen 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 chamberlin 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 Harry Pussy to the rock kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Grandmaster Flash and the Furious Five,
Saccharine Trust,
Model 500,
The Busters,
The Fugs,
Toni Rubio,
Gerry Rafferty,
Magma,
Angry Samoans,
Notorious BIG live in Amsterdam,
Loose Ends,
Masters at Work,
the Association,
Dennis Brown,
Kool Moe Dee,
Roxette,
Sällskapet,
Quando Quango,
Lebanon Hanover,
Sister Nancy,
Cabaret Voltaire,
cv313,
Jeru the Damaja,
Dave Gahan,
Donald Byrd,
Frankie Knuckles,
Niagra,
Vladislav Delay,
The Walker Brothers,
The Mummies,
Sunsets and Hearts,
Severed Heads,
KRS-One,
Nils Olav,
Eden Ahbez,
The Cramps,
Orchestral Manoeuvres in the Dark,
Ponytail,
Minor Threat,
Whodini,
Ultimate Spinach,
London Community Gospel Choir,
Qualms,
Lightning Bolt,
The Velvet Underground,
Cal Tjader,
Unwound,
Peter & Gordon,
Bill Wells,
Mandrill,
Outsiders,
Pete Rock & C.L. Smooth,
X-102,
Cybotron,
U.S. Maple,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.