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 Iraq 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 1961 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Scratch Acid to the disco kids.
I played it at Trash.
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 Lizzy Mercier Descloux. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every The Index 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Desert Stars,
Chrome,
Tres Demented,
The Seeds,
Pere Ubu,
Symarip,
Chris & Cosey,
Todd Rundgren,
Scan 7,
Grandmaster Flash,
Junior Murvin,
Sun City Girls,
Agitation Free,
Scientists,
Archie Shepp,
Dawn Penn,
Tropical Tobacco,
The Associates,
Lou Christie,
Derrick Morgan,
Bizarre Inc.,
The Last Poets,
Alison Limerick,
Audionom,
Panda Bear,
Aswad,
Faust,
Fugazi,
Robert Wyatt,
The Men They Couldn't Hang,
Sällskapet,
Gastr Del Sol,
The Zeros,
L. Decosne,
Pulsallama,
LL Cool J,
These Immortal Souls,
Gong,
Bauhaus,
Gregory Isaacs,
Pierre Henry,
Ponytail,
The Beau Brummels,
Iggy Pop,
Hot Snakes,
Anakelly,
Richard Hell and the Voidoids,
Black Bananas,
Eyeless In Gaza,
June Days,
Warren Ellis,
Suburban Knight,
Underground Resistance,
The Walker Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Ultra Naté,
New York Dolls,
Joyce Sims,
The Cosmic Jokers,
Nick Cave & The Bad Seeds,
Electric Light Orchestra,
Gil Scott-Heron & Brian Jackson,
Scratch Acid,
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.