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 Uruguay and from Delhi.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Taipei 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 güiro 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 Half Japanese to the grunge 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 Faraquet. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Little Man,
Stiv Bators,
The Trojans,
FM Einheit,
Deutsch Amerikanische Freundschaft,
Lou Reed & Metallica,
Main Source,
Man Parrish,
Eurythmics,
Archie Shepp,
The Black Dice,
Josef K,
the Bar-Kays,
Piero Umiliani,
Quando Quango,
Blossom Toes,
Joy Division,
Siglo XX,
Y Pants,
Avey Tare's Slasher Flicks,
Dead Boys,
Yazoo,
Notorious BIG live in Amsterdam,
The Star Department,
Kings Of Tomorrow,
Rapeman,
The Angels of Light,
The Red Krayola,
Technova,
Maleditus Sound,
the Sonics,
Lightning Bolt,
Faraquet,
Kurtis Blow,
Audionom,
Swell Maps,
The Index,
Boogie Down Productions,
Agent Orange,
Big Daddy Kane,
L. Decosne,
The Electric Prunes,
Cluster,
Röyhkä ja Rättö ja Lehtisalo,
Kaleidoscope,
Adolescents,
E-Dancer,
the Germs,
Fluxion,
Camberwell Now,
Nas,
Ultravox,
The Young Rascals,
Barbara Tucker,
Pierre Henry,
Wally Richardson,
Pharaoh Sanders and the Fire Engines,
Au Pairs,
Jawbox,
Captain Beefheart & His Magic Band,
Mo-Dettes,
Fugazi, Fugazi, Fugazi, Fugazi.
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.