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 Nigeria and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Salvador and Houston.
I'm losing my edge to the art-school Johannesburg 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 marimba sounds with much patience.
I was there when Lou Reed 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 The Toasters to the electroclash kids.
I played it at CBGB's.
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 Cabaret Voltaire. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Ultravox,
Roxy Music,
Guru Guru,
The Barracudas,
James Chance & The Contortions,
Royal Trux,
Section 25,
MDC,
Hot Snakes,
Pylon,
Rhythim Is Rhythim,
Oblivians,
Half Japanese,
The Zeros,
Funky Four + One,
Sex Pistols,
Toni Rubio,
Glambeats Corp.,
Darondo,
Fort Wilson Riot,
Rod Modell,
Peter and Kerry,
June of 44,
Super Lover Cee & Casanova Rud,
Pantytec,
Ituana,
Roy Ayers,
Eddi Front,
Lebanon Hanover,
Minny Pops,
Notorious BIG live in Amsterdam,
the Association,
The Velvet Underground,
Ronan,
CMW,
The Selecter,
The Mummies,
This Heat,
Kevin Saunderson,
Juan Atkins,
Kayak,
Fugazi,
Archie Shepp,
Unrelated Segments,
Dennis Brown,
Kauko Röyhkä ja Narttu,
Nation of Ulysses,
Faust,
The Gun Club,
DJ Sneak,
F. McDonald,
Sexual Harrassment,
Mandrill,
Malaria!,
The Moleskins,
Gil Scott-Heron & Brian Jackson,
Aural Exciters,
Gregory Isaacs,
Hasil Adkins,
The Evens,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.