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 Korea South and from Lille.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Calgary.
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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Blackbyrds to the rap 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 Q and Not U. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every the Germs 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
DeepChord presents Echospace,
Bobby Byrd,
Pantytec,
James White and The Blacks,
Average White Band,
Gabor Szabo,
Grey Daturas,
Kaleidoscope,
Eric Dolphy,
The Gladiators,
Janne Schatter,
ABC,
The Cosmic Jokers,
Little Man,
Monks,
Marvin Gaye,
Cameo,
Depeche Mode,
Jeff Lynne,
Sällskapet,
Quantec,
the Sonics,
The Gap Band,
Man Eating Sloth,
Pylon,
Strawberry Alarm Clock,
The Doobie Brothers,
Ultra Naté,
Glambeats Corp.,
The Monks,
Faust,
Deutsch Amerikanische Freundschaft,
Adolescents,
The Beau Brummels,
Byron Stingily,
The Human League,
Grauzone,
Camron Feat. Memphis Bleek And Beenie Seigel,
Camberwell Now,
Jeru the Damaja,
The Litter,
Television Personalities,
Hot Snakes,
Louis and Bebe Barron,
Surgeon,
Neu!,
The Barracudas,
Vaughan Mason & Crew,
Bootsy Collins,
Rowland S Howard / Lydia Lunch,
Eric B and Rakim,
DNA,
Sound Behaviour,
F. McDonald,
Electric Prunes,
Marcia Griffiths,
Josef K,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.