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 Korea North and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Salvador and Houston.
I'm losing my edge to the art-school Philadelphia 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 theremin 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 Sparks to the rap kids.
I played it at CBGB's.
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 Brand Nubian. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
The Skatalites,
10cc,
The Alarm Clocks,
Bauhaus,
Chris & Cosey,
Black Moon,
Chrome,
Don Cherry,
U.S. Maple,
Motorama,
Matthew Halsall,
Quadrant,
EPMD,
The Electric Prunes,
Larry & the Blue Notes,
Deakin,
Sun City Girls,
Monolake,
Sam Rivers,
Gang Green,
R.M.O.,
Traffic Nightmare,
Wolf Eyes,
Rotary Connection,
Tim Buckley,
Deutsch Amerikanische Freundschaft,
Suicide,
Morten Harket,
Warren Ellis,
Peter and Kerry,
Lee Hazlewood,
Zero Boys,
New York Dolls,
Wighnomy Brothers & Robag Wruhme,
UT,
Bobbi Humphrey,
June Days,
Clear Light,
L. Decosne,
Joyce Sims,
Brick,
Lebanon Hanover,
the Normal,
Fugazi,
Selector Dub Narcotic,
Rowland S Howard / Lydia Lunch,
Ronan,
Gian Franco Pienzio,
Pierre Henry,
the Sonics,
B.T. Express,
Pharaoh Sanders and the Fire Engines,
Gregory Isaacs,
Marine Girls,
Erykah Badu,
Eddi Front,
Whodini,
Ultra Naté,
Mad Mike,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.