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 Syria and from Spokane.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 The Fall to the techno 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 Richard Hell and the Voidoids. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Terry Callier,
Grauzone,
Harpers Bizarre,
The Misunderstood,
Marshall Jefferson,
The J.B.'s,
Oneida,
Hoover,
The Monochrome Set,
Sandy B,
Public Image Ltd.,
Royal Trux,
Loose Ends,
Delon & Dalcan,
Adolescents,
Pussy Galore,
Chris Corsano,
Pantytec,
Avey Tare & Kría Brekkan,
ABC,
Andrew Ashong & Theo Parrish,
Quadrant,
Essential Logic,
Unrelated Segments,
Liaisons Dangereuses,
The Fuzztones,
Gang Green,
Fort Wilson Riot,
The Slackers,
The Velvet Underground,
Todd Rundgren,
Fad Gadget,
Organ,
Blossom Toes,
The United States of America,
Susan Cadogan,
Von Mondo,
Gang of Four,
The Men They Couldn't Hang,
Godley & Creme,
Crispian St. Peters,
Scratch Acid,
Khruangbin,
Derrick May,
Young Marble Giants,
The Fortunes,
Letta Mbulu,
Jacques Brel,
Ronan,
Monks,
Soft Machine,
Arthur Verocai,
Nirvana,
Agitation Free,
the Sonics,
Dave Gahan,
Maleditus Sound,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.