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 Fiji and from Tokyo.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
I'm losing my edge to the art-school London 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 sitar 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 Blancmange to the electroclash kids.
I played it at the 40 Watt.
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 Wolf Eyes. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Grandmaster Flash record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Hoover,
Scan 7,
Pole,
The Walker Brothers,
Aswad,
Deadbeat,
Nas,
Nirvana,
Derrick May,
Fort Wilson Riot,
Groovy Waters,
Grauzone,
Susan Cadogan,
Marcia Griffiths,
The Raincoats,
Moby Grape,
Suicide,
Arthur Verocai,
The Saints,
Marc Almond,
Shoche,
Todd Terry,
Aaron Thompson,
Avey Tare & Kría Brekkan,
Hasil Adkins,
Pere Ubu,
Zero Boys,
D'Angelo,
Make Up,
Flipper,
Tim Buckley,
Morten Harket,
Mr. Review,
Red Lorry Yellow Lorry,
Spoonie Gee,
Fugazi,
Grandmaster Flash,
Ponytail,
Ajijia Myrayebe,
PIL,
Slave,
The Moody Blues,
Black Sheep,
Terror Squad Feat. Camron,
The Doobie Brothers,
Talk Talk,
Barry Ungar,
Liliput,
Ken Boothe,
Lou Reed & Metallica,
Sexual Harrassment,
Circle Jerks,
Gastr Del Sol,
Cluster,
Kango’s Stein Massive,
The Martian,
Isaac Hayes,
Gian Franco Pienzio,
Sun Ra Arkestra,
Roxette,
The Fuzztones,
The Shadows of Knight,
Terry Callier,
Oblivians, Oblivians, Oblivians, Oblivians.
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.