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 Bahrain and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Houston.
I'm losing my edge to the art-school Mumbai 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 sitar 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 The Grass Roots to the dance kids.
I played it at the Astoria.
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 Clear Light. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
B.T. Express,
John Foxx,
Bizarre Inc.,
10cc,
Drexciya,
June of 44,
Crispian St. Peters,
One Last Wish,
ABC,
The Young Rascals,
Donald Byrd,
Fluxion,
Suicide,
Ultramagnetic MC's,
Colin Newman,
Crash Course in Science,
A Certain Ratio,
The Shadows of Knight,
Terry Callier,
Organ,
Grandmaster Flash and the Furious Five,
Lightning Bolt,
Ken Boothe,
Ituana,
Sly & The Family Stone,
Bluetip,
Wolf Eyes,
Roxy Music,
Avey Tare's Slasher Flicks,
Crime,
Rufus Thomas,
Negative Approach,
Monolake,
The United States of America,
Bauhaus,
Lou Christie,
Mo-Dettes,
Nick Cave & The Bad Seeds,
Bill Wells,
Con Funk Shun,
Bob Dylan,
Gang Green,
Dawn Penn,
Stockholm Monsters,
Goldenarms,
Little Man,
Accadde A,
the Human League,
The American Breed,
Loose Ends,
Lebanon Hanover,
UT,
Stetsasonic,
Thompson Twins,
Teenage Jesus and the Jerks,
Toni Rubio,
The Evens,
Jeru the Damaja,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.