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 Liberia and from Johannesburg.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Sun Ra to the dance kids.
I played it at the Troubador.
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 the Slits. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Little Man 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Spandau Ballet,
Quadrant,
the Human League,
Justin Hinds & The Dominoes,
Oblivians,
the Swans,
Toni Rubio,
Echo & the Bunnymen,
The Jesus and Mary Chain,
The Associates,
Lungfish,
Radiopuhelimet,
Mantronix,
Bizarre Inc.,
Hashim,
Idris Muhammad,
Soft Machine,
Yellowson,
Neil Young,
Fatback Band,
James Chance & The Contortions,
Panda Bear,
Aural Exciters,
Bobby Hutcherson,
Absolute Body Control,
Deadbeat,
Robert Hood,
Slick Rick,
The Royal Family And The Poor,
Lou Reed & Metallica,
Niagra,
Pere Ubu,
Sarah Menescal,
Marmalade,
Patti Smith,
Ice-T,
The Divine Comedy,
Dave Gahan,
Das Ding,
Be Bop Deluxe,
Junior Murvin,
Derrick May,
Skaos,
Scrapy,
Sällskapet,
Leonard Cohen,
Glambeats Corp.,
Rhythim Is Rhythim,
Donald Byrd,
Kool G Rap & DJ Polo,
The Residents,
Clear Light,
Bush Tetras,
Von Mondo,
Kaleidoscope,
It's A Beautiful Day,
The Dirtbombs,
Alphaville,
Eric Dolphy,
Black Flag,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.