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 Bangladesh and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ sounds with much patience.
I was there when Holger Czukay 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 Laurel Aitken to the disco 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 Scott Walker. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
June of 44,
Yellowson,
Oblivians,
Jacques Brel,
LL Cool J,
A Certain Ratio,
Rhythm & Sound,
Fluxion,
The Durutti Column,
Deakin,
Jimmy McGriff,
Marc Romboy vs. Booka Shade,
Dual Sessions,
Wasted Youth,
Flipper,
Japan,
Gichy Dan,
Ash Ra Tempel,
Rites of Spring,
Echo & the Bunnymen,
The Zeros,
Mantronix,
Stereo Dub,
Piero Umiliani,
Grey Daturas,
Amon Düül II,
Lyres,
The Flesh Eaters,
Agent Orange,
Malaria!,
Nik Kershaw,
FM Einheit,
Skarface,
Minutemen,
The Motions,
Kauko Röyhkä ja Narttu,
Connie Case,
Crash Course in Science,
The Grass Roots,
Ronan,
Pagans,
Black Flag,
Electric Prunes,
Cymande,
L. Decosne,
Nirvana,
Oppenheimer Analysis,
Soft Cell,
The Dave Clark Five,
Marshall Jefferson,
Bluetip,
Ultravox,
The Last Poets,
Heavy D & The Boyz,
The Skatalites,
Röyhkä ja Rättö ja Lehtisalo,
Richard Hell and the Voidoids,
Masters at Work,
Nick Cave & The Bad Seeds,
Ludus, Ludus, Ludus, Ludus.
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.