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 Mauritania and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Model 500 to the rock 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 Soft Machine. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Khruangbin 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Steve Hackett,
Das Ding,
Electric Prunes,
R.M.O.,
Ten City,
Stockholm Monsters,
Max Romeo,
Kas Product,
Crispy Ambulance,
Deepchord,
Loose Ends,
Flipper,
Rapeman,
Technova,
China Crisis,
John Holt,
Stereo Dub,
Deakin,
Cal Tjader,
Dark Day,
Pantytec,
Chrome,
Jawbox,
Spandau Ballet,
Black Pus,
Skarface,
Visionaries,LMNO, T- Love & Iriscience,
Cheater Slicks,
Lou Reed & Metallica,
The Walker Brothers,
Bauhaus,
Peter & Gordon,
U.S. Maple,
Trumans Water,
Henry Cow,
The Remains,
Brothers Johnson,
Maleditus Sound,
James Chance & The Contortions,
Ornette Coleman,
Scott Walker + Sunn O))),
Zero Boys,
Anthony Braxton,
The Zeros,
Justin Hinds & The Dominoes,
Average White Band,
Ralphi Rosario,
Delon & Dalcan,
Aloha Tigers,
Shuggie Otis,
Deutsch Amerikanische Freundschaft,
Richard Hell and the Voidoids,
Adolescents,
The Monks,
Sonny Sharrock,
Sandy B,
Television Personalities,
Funkadelic,
Soft Cell,
Yellowson,
Jeff Mills,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.