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 Qatar and from Copenhagen.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Sao Paulo 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 808 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 Rhythm & Sound to the punk kids.
I played it at the Roxy.
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 Nico. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Jesper Dahlback,
Orchestral Manoeuvres in the Dark,
Franke,
The Wake,
The Seeds,
The Stooges,
Hardrive,
Swell Maps,
Television,
Dark Day,
James White and The Blacks,
Sugar Minott,
James Chance & The Contortions,
Louis and Bebe Barron,
Prince Buster,
Chris & Cosey,
Lakeside,
Sarah Menescal,
Rhythm & Sound,
The Moody Blues,
Girls At Our Best!,
Grandmaster Flash and the Furious Five,
Bronski Beat,
KRS-One,
the Fania All-Stars,
Piero Umiliani,
The Mummies,
AZ,
Al Stewart,
Godley & Creme,
Aswad,
Sight & Sound,
Ajijia Myrayebe,
Brothers Johnson,
X-101,
Soul Sonic Force,
Depeche Mode,
The United States of America,
Circle Jerks,
The Modern Lovers,
Amon Düül,
This Heat,
Lucky Dragons,
Bobby Sherman,
Liliput,
Flamin' Groovies,
Cameo,
Pantaleimon,
CMW,
Eli Mardock,
Aaron Thompson,
David Axelrod,
Brick,
Freddie Wadling,
Albert Ayler,
Urselle,
The Litter,
Skriet,
Davy DMX,
Graham Central Station,
New Order, New Order, New Order, New Order.
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.