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 Suriname and from Bremen.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Tokyo and London.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Thompson Twins to the grime kids.
I played it at the Crocodile.
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 Glenn Branca. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Camouflage record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Stiv Bators,
Quantec,
The Offenders,
Skaos,
T.S.O.L.,
Bootsy Collins,
The New Christs,
Animal Collective,
Roy Ayers Ubiquity,
Ohio Players,
DNA,
Basic Channel,
Young Marble Giants,
Audionom,
Khruangbin,
Cameo,
John Foxx,
Erasure,
The Doors,
Liaisons Dangereuses,
Scrapy,
June of 44,
Altered Images,
the Swans,
The Residents,
The Young Rascals,
L. Decosne,
Jesper Dahlback,
Lou Reed & John Cale,
The Moody Blues,
Fatback Band,
Camouflage,
Monks,
Q and Not U,
Bush Tetras,
Gregory Isaacs,
Dorothy Ashby,
Avey Tare's Slasher Flicks,
Max Romeo,
Fluxion,
Bobby Byrd,
Sam Rivers,
The Blues Magoos,
Yusef Lateef,
Ken Boothe,
Girls At Our Best!,
D'Angelo,
The Modern Lovers,
Spoonie Gee,
Swell Maps,
Thee Headcoats,
Silicon Teens,
DeepChord presents Echospace,
Banda Bassotti,
New Order,
Cluster,
Peter Gordon & Love of Life Orchestra,
Richard Hell and the Voidoids,
The J.B.'s,
The Real Kids,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.