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 Georgia and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Accra and Copenhagen.
I'm losing my edge to the art-school Beijing 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 theremin 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 Dennis Brown to the rap 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 Jimmy McGriff. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Boredoms 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 '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Smog,
Sparks,
Fluxion,
The Walker Brothers,
Lindisfarne,
Con Funk Shun,
The Leaves,
Flamin' Groovies,
Gabor Szabo,
Clear Light,
X-101,
The Techniques,
Tim Buckley,
Bobbi Humphrey,
Liaisons Dangereuses,
The Index,
Sun Ra Arkestra,
Metal Thangz,
Excepter,
Aaron Thompson,
The Victims,
Supertramp,
Dorothy Ashby,
The Offenders,
The Sound,
Aural Exciters,
Gregory Isaacs,
The Alarm Clocks,
Justin Hinds & The Dominoes,
New Order,
EPMD,
T.S.O.L.,
Alphaville,
Laurel Aitken,
Deakin,
Blake Baxter,
London Community Gospel Choir,
Rites of Spring,
Mo-Dettes,
Mark Hollis,
Jandek,
Major Organ And The Adding Machine,
Lucky Dragons,
Electric Light Orchestra,
The Human League,
Sugar Minott,
DNA,
John Holt,
Fugazi,
Jimmy McGriff,
Bobby Womack,
Eli Mardock,
James White and The Blacks,
Nils Olav,
Second Layer,
Anthony Braxton,
Johnny Clarke,
the Fania All-Stars,
Louis and Bebe Barron,
The Black Dice,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.