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 Taiwan and from London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Rowland S Howard / Lydia Lunch to the dance 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 Roy Ayers. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Hardrive 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Rekid,
One Last Wish,
The Alarm Clocks,
Trumans Water,
Con Funk Shun,
The Wake,
Dual Sessions,
10cc,
Groovy Waters,
Flamin' Groovies,
The Cosmic Jokers,
The Dead C,
Aaron Thompson,
Section 25,
Sonny Sharrock,
Ultramagnetic MC's,
Ten City,
The Beau Brummels,
R.M.O.,
A Certain Ratio,
John Lydon,
Robert Wyatt,
The Buckinghams,
Lafayette Afro Rock Band,
Johnny Clarke,
Angry Samoans,
Connie Case,
Matthew Halsall,
Kas Product,
Shuggie Otis,
Livin' Joy,
Magazine,
Ken Boothe,
X-Ray Spex,
Gang Starr,
Thee Headcoats,
Eve St. Jones,
Man Parrish,
Lower 48,
China Crisis,
Vladislav Delay,
Skarface,
Minor Threat,
Throbbing Gristle,
Sister Nancy,
Henry Cow,
Royal Trux,
The Victims,
The Jesus and Mary Chain,
Cameo,
MDC,
Electric Prunes,
Red Lorry Yellow Lorry,
Marine Girls,
Kauko Röyhkä ja Narttu,
T.S.O.L.,
The Mighty Diamonds,
The Music Machine,
Rahsaan Roland Kirk,
Public Enemy,
Metal Thangz,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.