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 Pakistan and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Lagos.
I'm losing my edge to the art-school Bologna 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Hardrive to the rap 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 Connie Case. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Quando Quango,
Ultravox,
The Walker Brothers,
The Neon Judgement,
Audionom,
Avey Tare's Slasher Flicks,
the Bar-Kays,
Blake Baxter,
Country Joe & The Fish,
Von Mondo,
The Vogues,
The Smiths,
The Selecter,
EPMD,
Neu!,
The Velvet Underground,
Soft Machine,
Gerry Rafferty,
Gian Franco Pienzio,
Boredoms,
The Dead C,
The Tremeloes,
Peter Gordon & Love of Life Orchestra,
Marc Romboy vs. Booka Shade,
The Trojans,
The Seeds,
The Raincoats,
Eli Mardock,
Cluster,
Supertramp,
Kenny Larkin,
DNA,
Charles Mingus,
Darondo,
Ludus,
Scion,
Wolf Eyes,
Warren Ellis,
The Stooges,
Albert Ayler,
Stereo Dub,
F. McDonald,
Nick Cave & The Bad Seeds,
Infiniti,
Jeff Lynne,
David Axelrod,
Crime,
Half Japanese,
Shuggie Otis,
Piero Umiliani,
The Moody Blues,
The Flesh Eaters,
Skaos,
48th St. Collective,
Schoolly D,
Essential Logic,
The Beau Brummels,
It's A Beautiful Day,
Glenn Branca,
Andrew Hill,
The Shadows of Knight,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.