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 Turkmenistan and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1962 to 1973.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 B.T. Express to the grime kids.
I played it at Trash.
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 Sad Lovers and Giants. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal jazz 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 a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Sticky Fingaz feat. Raekwon,
Aswad,
Janne Schatter,
Tears for Fears,
Mars,
Flamin' Groovies,
Siouxsie and the Banshees,
The Doors,
The Index,
Swans,
Harmonia,
Lou Reed & Metallica,
Lakeside,
Drexciya,
Desert Stars,
Vladislav Delay,
Avey Tare's Slasher Flicks,
Inner City,
Ken Boothe,
The Gun Club,
New Order,
Black Bananas,
Roy Ayers Ubiquity,
Babytalk,
Toni Rubio,
World's Most,
Monolake,
Amon Düül II,
Audionom,
Rekid,
Minnie Riperton,
Adolescents,
Scott Walker + Sunn O))),
Wally Richardson,
The Busters,
Gian Franco Pienzio,
E-Dancer,
The United States of America,
This Heat,
Popol Vuh,
DNA,
The Tremeloes,
Fear,
Hot Snakes,
The Offenders,
One Last Wish,
The Seeds,
Boredoms,
Ohio Players,
Susan Cadogan,
John Coltrane,
Deutsch Amerikanische Freundschaft,
Fatback Band,
Lalann,
the Slits,
Donny Hathaway,
These Immortal Souls,
Eric Copeland,
Patti Smith,
Fat Boys,
Piero Umiliani,
Schoolly D,
June Days, June Days, June Days, June Days.
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.