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 Benin and from Columbus.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Seeds to the electroclash kids.
I played it at the Astoria.
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 The Seeds. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal crunk 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 a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Soul II Soul,
Maurizio,
The West Coast Pop Art Experimental Band,
the Swans,
Alison Limerick,
The Five Americans,
Dark Day,
EPMD,
The Jesus and Mary Chain,
Henry Cow,
The Slits,
Cymande,
Drive Like Jehu,
Flash Fearless,
The Invisible,
Dennis Brown,
Gang Starr,
DJ Style,
Jacob Miller,
Darondo,
Judy Mowatt,
Sight & Sound,
John Cale,
Wings,
Ornette Coleman,
Nico,
Minnie Riperton,
Faraquet,
Q65,
Mad Mike,
K-Klass,
Kerri Chandler,
Accadde A,
The Offenders,
Ossler,
Max Romeo,
Art Ensemble Of Chicago,
Black Moon,
Electric Prunes,
Jesper Dahlback,
Bush Tetras,
Davy DMX,
Y Pants,
X-102,
Bill Wells,
Scion,
Clear Light,
Whodini,
Underground Resistance,
China Crisis,
Andrew Ashong & Theo Parrish,
Oblivians,
Boredoms,
Harmonia,
Lonnie Liston Smith,
Lightning Bolt,
The American Breed,
Bauhaus,
Can,
Roger Hodgson,
David McCallum,
Lower 48,
Urselle, Urselle, Urselle, Urselle.
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.