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 Gambia 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 1967 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the rhodes 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 Bang On A Can 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Black Pus 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Josef K,
Ronan,
Avey Tare's Slasher Flicks,
Maurizio,
Minutemen,
Model 500,
Dawn Penn,
Janne Schatter,
Sällskapet,
Pantytec,
Marvin Gaye,
Archie Shepp,
Boredoms,
Mandrill,
June Days,
Byron Stingily,
Terror Squad Feat. Camron,
Chrome,
The Fire Engines,
Blancmange,
The Slackers,
Bootsy's Rubber Band,
Lower 48,
JFA,
8 Eyed Spy,
Radiohead,
Colin Newman,
Nation of Ulysses,
Eli Mardock,
Minor Threat,
Dorothy Ashby,
The Happenings,
Country Joe & The Fish,
Public Image Ltd.,
The Saints,
Essential Logic,
Gregory Isaacs,
Scratch Acid,
Skriet,
Don Cherry,
Flamin' Groovies,
Soulsonic Force,
Minnie Riperton,
Lonnie Liston Smith,
The Monochrome Set,
Flash Fearless,
Severed Heads,
Pharaoh Sanders and the Fire Engines,
Urselle,
Unwound,
Gabor Szabo,
Thee Headcoats,
Ludus,
The Men They Couldn't Hang,
Bang On A Can,
Andrew Hill,
The Doors,
New Order,
Black Moon,
Robert Görl,
The Cramps,
Bobby Byrd,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.