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 Cyprus and from Tehran.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lille and Manchester.
I'm losing my edge to the art-school Seoul 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 Lalann to the punk 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 Yaz. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
The Wake,
Röyhkä ja Rättö ja Lehtisalo,
Marc Almond,
Wasted Youth,
Harpers Bizarre,
The Gap Band,
Big Daddy Kane,
Jesper Dahlback,
The Last Poets,
Yellowson,
Derrick Morgan,
Barbara Tucker,
The Buckinghams,
MC5,
Bobby Womack,
F. McDonald,
Thee Headcoats,
Cluster,
The Fortunes,
The Divine Comedy,
Fat Boys,
Guru Guru,
John Lydon,
Kango’s Stein Massive,
Underground Resistance,
John Coltrane,
Dawn Penn,
X-Ray Spex,
Tommy Roe,
Swell Maps,
Ornette Coleman,
The Neon Judgement,
Unrelated Segments,
The Cosmic Jokers,
Erasure,
Idris Muhammad,
Audionom,
Bauhaus,
Sound Behaviour,
Main Source,
E-Dancer,
Massinfluence,
The Gun Club,
Pole,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Names,
Basic Channel,
AZ,
Whodini,
Darondo,
Simply Red,
Parry Music,
the Slits,
Fugazi,
The Moody Blues,
Country Teasers,
K-Klass,
Nation of Ulysses,
Mars,
The Motions,
Amazonics,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.