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 Latvia and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Manila 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Gang of Four to the grime kids.
I played it at the Roxy.
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 Nation of Ulysses. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal crunk 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 a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Spandau Ballet,
Q and Not U,
Fifty Foot Hose,
Aloha Tigers,
Avey Tare's Slasher Flicks,
Bootsy Collins,
Avey Tare,
Suicide,
Tres Demented,
The Dead C,
Liliput,
The Birthday Party,
Flamin' Groovies,
The Gories,
Röyhkä ja Rättö ja Lehtisalo,
The Young Rascals,
Rekid,
Kings Of Tomorrow,
Terrestrial Tones,
Joe Smooth,
Gang of Four,
Jesper Dahlback,
Trumans Water,
Sam Rivers,
Cecil Taylor,
Bobby Womack,
Gil Scott Heron,
Babytalk,
Deutsch Amerikanische Freundschaft,
Mandrill,
KRS-One,
The Victims,
Arthur Verocai,
Rahsaan Roland Kirk,
Bad Manners,
The Durutti Column,
Althea and Donna,
Thinking Fellers Union Local 282,
The Mummies,
kango's stein massive,
Alice Coltrane,
Bluetip,
Michelle Simonal,
The Smoke,
Jerry Gold Smith,
Erasure,
Spoonie Gee,
Groovy Waters,
The Remains,
Notorious Big And Bone Thugs,
Harry Pussy,
Lebanon Hanover,
Sex Pistols,
Gil Scott-Heron & Brian Jackson,
Anthony Braxton,
JFA,
Lou Reed,
John Holt,
Nation of Ulysses,
Captain Beefheart & His Magic Band,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.