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 the UAE and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Salvador.
I'm losing my edge to the art-school Paris 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 snare 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 Drive Like Jehu to the punk kids.
I played it at the Troubador.
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 Aswad. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Fat Boys,
Glenn Branca,
Circle Jerks,
The Dead C,
Clear Light,
Wasted Youth,
Robert Hood,
Shuggie Otis,
Sixth Finger,
Patti Smith,
Country Teasers,
John Lydon,
Television Personalities,
Suicide,
Ponytail,
Dorothy Ashby,
Eurythmics,
Model 500,
The Fall,
Masters at Work,
Juan Atkins,
Whodini,
The Residents,
Hardrive,
the Association,
Gary Puckett & The Union Gap,
OOIOO,
Hot Snakes,
The Raincoats,
cv313,
The Names,
Byron Stingily,
Magma,
Danielle Patucci,
Sex Pistols,
The Invisible,
Smog,
Jeru the Damaja,
Todd Rundgren,
Drexciya,
Shoche,
Flipper,
Michelle Simonal,
Yusef Lateef,
The Tremeloes,
The Doors,
Rapeman,
The Dirtbombs,
The Divine Comedy,
D'Angelo,
Public Image Ltd.,
Camberwell Now,
Funky Four + One,
Kevin Saunderson,
Harry Pussy,
Manfred Mann's Earth Band,
Pussy Galore,
Kool G Rap & DJ Polo,
Outsiders,
Tubeway Army,
Groovy Waters,
Althea and Donna,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.