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 Ivory Coast and from Lagos.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Hong Kong 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 synthesizer 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 The Invisible to the grime kids.
I played it at the Hacienda.
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 Silicon Teens. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Gian Franco Pienzio,
Minny Pops,
Scott Walker + Sunn O))),
Cecil Taylor,
Theoretical Girls,
New Order,
The Standells,
Nas,
T.S.O.L.,
Ohio Players,
The Cosmic Jokers,
Neil Young & Crazy Horse,
Alison Limerick,
Sex Pistols,
Amon Düül,
The Fortunes,
Camouflage,
Blancmange,
Severed Heads,
Monks,
Soul Sonic Force,
Ludus,
Maleditus Sound,
Brand Nubian,
June of 44,
Metal Thangz,
The Music Machine,
Ronnie Foster,
Louis and Bebe Barron,
Masters at Work,
Liliput,
Marvin Gaye,
Stetsasonic,
Oneida,
Joe Smooth,
Drexciya,
Althea and Donna,
The Cure,
Suicide,
Rotary Connection,
The Black Dice,
Sugar Minott,
Pere Ubu,
Susan Cadogan,
Second Layer,
Isaac Hayes,
Eve St. Jones,
In Retrospect,
Tears for Fears,
Black Flag,
The Walker Brothers,
Man Parrish,
Mr. Review,
Outsiders,
Das Ding,
Gang Starr,
Chrome,
Monolake,
Throbbing Gristle,
Wally Richardson,
DJ Sneak,
Magma, Magma, Magma, Magma.
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.