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 Spain and from Hong Kong.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Manila.
I'm losing my edge to the art-school London 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 Lewis practice in a loft in Vancouver.
I was working on the 808 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 The Gories to the crunk kids.
I played it at the Crocodile.
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 the Slits. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Sonic Youth 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Hardrive,
Bad Manners,
The Trojans,
Kerri Chandler,
Delon & Dalcan,
JFA,
Nick Fraelich,
Moss Icon,
Yazoo,
Kauko Röyhkä ja Narttu,
Rhythm & Sound,
Bauhaus,
Half Japanese,
Goldenarms,
Excepter,
Altered Images,
The Litter,
Dark Day,
Kas Product,
The Searchers,
The Mummies,
The Sound,
Gil Scott Heron,
Pharoah Sanders,
The New Christs,
Sarah Menescal,
Bang On A Can,
Warren Ellis,
David McCallum,
Judy Mowatt,
Ronnie Foster,
Neil Young & Crazy Horse,
The Gories,
James Chance & The Contortions,
Visionaries,LMNO, T- Love & Iriscience,
Crash Course in Science,
Masters at Work,
the Soft Cell,
Dennis Brown,
Jesper Dahlback,
Pierre Henry,
Gian Franco Pienzio,
Monks,
Unrelated Segments,
Steve Hackett,
Soul Sonic Force,
New Order,
The Invisible,
Scion,
Agitation Free,
Pulsallama,
Minor Threat,
Tom Boy,
Toni Rubio,
Scratch Acid,
Marc Almond,
Gil Scott-Heron and Jamie xx,
Skriet,
Dorothy Ashby,
FM Einheit,
Frankie Knuckles,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.