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 Lebanon and from Tokyo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Milan 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 synthesizer 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 Byron Stingily to the crunk 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 These Immortal Souls. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Tomorrow 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Soft Machine,
Quantec,
Dave Gahan,
Dorothy Ashby,
Bizarre Inc.,
Fear,
X-Ray Spex,
Camron Feat. Jay Z And Juelz,
The Fire Engines,
Siouxsie and the Banshees,
the Human League,
The United States of America,
Dawn Penn,
Absolute Body Control,
Lou Reed & John Cale,
Goldenarms,
Flash Fearless,
X-101,
Metal Thangz,
Richard Hell and the Voidoids,
Orchestral Manoeuvres in the Dark,
Notorious BIG live in Amsterdam,
The Count Five,
Ice-T,
Blossom Toes,
Monolake,
Kango’s Stein Massive,
Leonard Cohen,
The Fortunes,
Quadrant,
Depeche Mode,
Can,
Marine Girls,
Rapeman,
Shuggie Otis,
Rhythm & Sound,
Anthony Braxton,
The Techniques,
Zero Boys,
Massinfluence,
The Standells,
Eyeless In Gaza,
The Birthday Party,
Jacob Miller,
Roxette,
The Tremeloes,
Ken Boothe,
The Skatalites,
The Doobie Brothers,
Lonnie Liston Smith,
Nico,
Warren Ellis,
Gil Scott Heron,
Model 500,
The Fall,
Mo-Dettes,
Rosa Yemen,
Cecil Taylor,
Mars, Mars, Mars, Mars.
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.