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 Angola and from Houston.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Lyon 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Ultra Naté to the rap 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 Boz Scaggs. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Marc Romboy vs. Booka Shade,
Negative Approach,
The Neon Judgement,
The Count Five,
Terror Squad Feat. Camron,
Ralphi Rosario,
kango's stein massive,
Tim Buckley,
Accadde A,
Tom Boy,
The Moody Blues,
Soul II Soul,
Soft Machine,
The Associates,
Gil Scott-Heron and Jamie xx,
Kool Moe Dee,
Eve St. Jones,
Pole,
Nation of Ulysses,
Pantaleimon,
DeepChord presents Echospace,
Ultramagnetic MC's,
Hot Snakes,
The Sonics,
Eric Copeland,
Ultimate Spinach,
Lalann,
Malaria!,
Ultra Naté,
Tubeway Army,
Byron Stingily,
Subhumans,
Model 500,
Aswad,
Pierre Henry,
Wings,
The Real Kids,
Aural Exciters,
Heavy D & The Boyz,
The Victims,
Nas,
Little Man,
Radiohead,
Sex Pistols,
The Fugs,
Morten Harket,
Donald Byrd,
Albert Ayler,
Young Marble Giants,
Don Cherry,
D'Angelo,
Aloha Tigers,
Skarface,
Lebanon Hanover,
Michelle Simonal,
Moby Grape,
Cal Tjader,
Skriet,
Bauhaus,
Main Source,
T.S.O.L.,
Nico,
Laurel Aitken,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.