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 Guyana and from Taipei.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Milan.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Pere Ubu to the dance kids.
I played it at the Spitz.
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 Scientists. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Man Eating Sloth 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Blancmange,
Super Lover Cee & Casanova Rud,
Mandrill,
Harmonia,
The Chocolate Watch Band,
Radiopuhelimet,
Pantaleimon,
Skaos,
Joe Smooth,
Deepchord,
Tears for Fears,
Tomorrow,
Pere Ubu,
Bang On A Can,
X-101,
Bootsy's Rubber Band,
the Human League,
Country Joe & The Fish,
Chrome,
Crooked Eye,
Hashim,
The Buckinghams,
Larry & the Blue Notes,
Alphaville,
Cymande,
Gary Puckett & The Union Gap,
Crash Course in Science,
The New Christs,
Throbbing Gristle,
48th St. Collective,
The Sisters of Mercy,
Faust,
Idris Muhammad,
The Blues Magoos,
The Five Americans,
Thee Headcoats,
Kings Of Tomorrow,
Jacob Miller,
Livin' Joy,
Ohio Players,
Letta Mbulu,
The Angels of Light,
Johnny Clarke,
AZ,
Pierre Henry,
The Birthday Party,
Roxy Music,
Sandy B,
B.T. Express,
Archie Shepp,
Nils Olav,
The Grass Roots,
Slick Rick,
Nico,
Donald Byrd,
The West Coast Pop Art Experimental Band,
The Tremeloes,
a-ha,
Sonic Youth,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.