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 Kazakhstan and from Salvador.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Woodstock 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 Zapp practice in a loft in Hamilton.
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 Amazonics to the grime kids.
I played it at CBGB's.
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 Funky Four + One. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every The Martian 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
The Black Dice,
New York Dolls,
Janne Schatter,
The Detroit Cobras,
Bill Near,
Accadde A,
Lucky Dragons,
Curtis Mayfield,
Chris Corsano,
Yusef Lateef,
Ultimate Spinach,
The Flesh Eaters,
The Standells,
Urselle,
the Slits,
Pharaoh Sanders and the Fire Engines,
Animal Collective,
Delon & Dalcan,
Black Bananas,
The Seeds,
Kool Moe Dee,
The Dirtbombs,
Anakelly,
Kings Of Tomorrow,
Depeche Mode,
Intrusion,
The Pretty Things,
Anthony Braxton,
Guru Guru,
The Knickerbockers,
Eli Mardock,
Marmalade,
Dennis Brown,
Art Ensemble Of Chicago,
Kevin Saunderson,
Masters at Work,
Unwound,
Richard Hell and the Voidoids,
Throbbing Gristle,
Banda Bassotti,
Camouflage,
Darondo,
World's Most,
Moebius,
Soft Cell,
The United States of America,
Whodini,
Audionom,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Busters,
AZ,
Rites of Spring,
The Peanut Butter Conspiracy,
Man Parrish,
Agent Orange,
Sarah Menescal,
Royal Trux,
Lizzy Mercier Descloux,
The Jesus and Mary Chain,
John Foxx, John Foxx, John Foxx, John Foxx.
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.