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 Japan and from Madrid.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
I'm losing my edge to the art-school Manchester 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the mellotron 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 Wasted Youth to the funk kids.
I played it at the 40 Watt.
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 Human League. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Ornette Coleman 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Danielle Patucci,
The Fall,
Glenn Branca,
The Moody Blues,
Fort Wilson Riot,
Marmalade,
The Velvet Underground,
Glambeats Corp.,
Sex Pistols,
Desert Stars,
Jawbox,
Warsaw,
Thee Headcoats,
Rod Modell,
Arcadia,
DNA,
Royal Trux,
Zero Boys,
Alison Limerick,
Bobby Sherman,
Rufus Thomas,
Amon Düül,
Swans,
Smog,
Adolescents,
Mary Jane Girls,
The Fortunes,
The Mummies,
Depeche Mode,
Soul II Soul,
Electric Light Orchestra,
Janne Schatter,
Aural Exciters,
Porter Ricks,
Johnny Osbourne,
Lee Hazlewood,
The Buckinghams,
Henry Cow,
Loose Ends,
Symarip,
The Last Poets,
Massinfluence,
Richard Hell and the Voidoids,
Basic Channel,
Lucky Dragons,
the Slits,
The Cure,
Wire,
Robert Wyatt,
Procol Harum,
Maleditus Sound,
The Red Krayola,
Spandau Ballet,
Q and Not U,
The Durutti Column,
Television Personalities,
Notorious Big And Bone Thugs,
The Kinks,
Dawn Penn,
Judy Mowatt,
Deutsch Amerikanische Freundschaft,
F. McDonald,
Hardrive, Hardrive, Hardrive, Hardrive.
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.