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 Djibouti and from Sao Paulo.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
I'm losing my edge to the art-school Manila 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 Josef K practice in a loft in Edinburgh.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Blake Baxter to the crunk kids.
I played it at the 40 Watt.
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 Bush Tetras. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Eden Ahbez,
Aaron Thompson,
The Techniques,
Matthew Halsall,
The Monochrome Set,
Silicon Teens,
The New Christs,
The Young Rascals,
Robert Wyatt,
Flipper,
The Fire Engines,
Letta Mbulu,
Drive Like Jehu,
Dave Gahan,
Thee Headcoats,
Avey Tare,
Sex Pistols,
Slave,
The Sonics,
the Slits,
The Barracudas,
Cecil Taylor,
The Cosmic Jokers,
Radiohead,
Ultravox,
The Count Five,
Stockholm Monsters,
Jesper Dahlback,
The Black Dice,
The Dirtbombs,
The Busters,
Ornette Coleman,
Technova,
Echospace,
Suburban Knight,
Swell Maps,
Ralphi Rosario,
Tomorrow,
Ken Boothe,
Section 25,
Sarah Menescal,
Mr. Review,
Carl Craig,
Sound Behaviour,
Black Pus,
Harry Pussy,
Franke,
Deutsch Amerikanische Freundschaft,
Outsiders,
Bang on a Can All-Stars,
Judy Mowatt,
Avey Tare & Kría Brekkan,
Colin Newman,
Das Ding,
Sparks,
Yusef Lateef,
Essential Logic,
Quantec,
June of 44,
De La Soul & Jungle Brothers,
Mars, Mars, Mars, Mars.
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.