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 Armenia and from Mexico City.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Scion to the jazz 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 Chrome. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal punk 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Black Moon,
The Selecter,
Roy Ayers,
These Immortal Souls,
Tom Boy,
The Red Krayola,
Metal Thangz,
Stockholm Monsters,
MDC,
Althea and Donna,
The Residents,
David McCallum,
The Victims,
Fluxion,
Little Man,
James White and The Blacks,
The Cosmic Jokers,
Traffic Nightmare,
The Gun Club,
Jimmy McGriff,
Ronan,
Faraquet,
Lucky Dragons,
Skarface,
Mo-Dettes,
Rhythim Is Rhythim,
T.S.O.L.,
Amazonics,
Jeff Lynne,
Kauko Röyhkä ja Narttu,
The Kinks,
London Community Gospel Choir,
Crispian St. Peters,
Lou Reed & John Cale,
James Chance & The Contortions,
The Birthday Party,
The Dead C,
The Fuzztones,
Minor Threat,
Dual Sessions,
Sixth Finger,
The Offenders,
Zapp,
Nation of Ulysses,
Camberwell Now,
Kenny Larkin,
The Smoke,
The Detroit Cobras,
Lou Reed & Metallica,
The Star Department,
Joensuu 1685,
Jesper Dahlbäck,
Iggy Pop,
Deadbeat,
Toni Rubio,
The Grass Roots,
Deakin,
Monks,
R.M.O., R.M.O., R.M.O., R.M.O..
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.