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 Zambia and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Beijing 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 oboe 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 Barclay James Harvest to the punk 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 Flipper. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every KRS-One 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
The Modern Lovers,
R.M.O.,
Electric Prunes,
Heaven 17,
Stereo Dub,
Zapp,
Soft Cell,
Spandau Ballet,
Bronski Beat,
Lou Christie,
the Fania All-Stars,
The Music Machine,
Marc Romboy vs. Booka Shade,
Delon & Dalcan,
New York Dolls,
Cal Tjader,
Ralphi Rosario,
Fear,
Mo-Dettes,
Schoolly D,
Bobbi Humphrey,
Nils Olav,
Idris Muhammad,
Subhumans,
Kenny Larkin,
Marcia Griffiths,
Fat Boys,
Das Ding,
The Monochrome Set,
H. Thieme,
Freddie Wadling,
L. Decosne,
Tubeway Army,
Technova,
La Düsseldorf,
Eric Copeland,
A Flock of Seagulls,
John Coltrane,
Jesper Dahlback,
Kool Moe Dee,
Brand Nubian,
Fela Kuti,
Ronnie Foster,
Cecil Taylor,
Aswad,
Colin Newman,
Siouxsie and the Banshees,
Alice Coltrane,
Sparks,
Con Funk Shun,
Crime,
Black Sheep,
Red Lorry Yellow Lorry,
The Martian,
Lightning Bolt,
Jacob Miller,
Lizzy Mercier Descloux,
Blake Baxter,
Lalann,
Harmonia,
Niagra, Niagra, Niagra, Niagra.
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.