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 Monaco and from Toronto.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Bremen 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Camron Feat. Jay Z And Juelz to the rock 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 Oneida. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Cabaret Voltaire,
R.M.O.,
Ohio Players,
The Invisible,
Eyeless In Gaza,
Faraquet,
Swell Maps,
The Alarm Clocks,
Magma,
Barry Ungar,
Gian Franco Pienzio,
Model 500,
Matthew Halsall,
Bobbi Humphrey,
The Detroit Cobras,
Motorama,
Icehouse,
Robert Wyatt,
The Selecter,
Goldenarms,
The Moleskins,
Ken Boothe,
Nik Kershaw,
Black Moon,
The Mojo Men,
Gil Scott-Heron & Brian Jackson,
MC5,
Essential Logic,
the Swans,
The Sound,
Gerry Rafferty,
The Residents,
Gang of Four,
The Mummies,
Thompson Twins,
The Barracudas,
Ralphi Rosario,
Fat Boys,
Talk Talk,
The Walker Brothers,
Jacques Brel,
Second Layer,
Scratch Acid,
Tears for Fears,
This Heat,
The Doors,
La Düsseldorf,
Jeff Mills,
Black Pus,
Basic Channel,
Marc Almond,
Mo-Dettes,
Piero Umiliani,
The Evens,
Louis and Bebe Barron,
Siouxsie and the Banshees,
Davy DMX,
Arthur Verocai,
Dr. Dre and Snoop Doggy Dog,
Brothers Johnson,
Rahsaan Roland Kirk,
Patti Smith,
Josef K,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.