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 Malaysia and from Accra.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
I'm losing my edge to the art-school Mumbai 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 Robert Palmer 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 Interpol to the crunk 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 Quando Quango. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Sixth Finger,
Little Man,
The Velvet Underground,
Oppenheimer Analysis,
Camouflage,
Flipper,
The Dead C,
Blake Baxter,
Erasure,
Lou Reed,
Q65,
Hardrive,
Visage,
Tubeway Army,
Marcia Griffiths,
The Divine Comedy,
Bob Dylan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Youth Brigade,
Vaughan Mason & Crew,
Eric Dolphy,
Pete Rock & C.L. Smooth,
Pylon,
Reuben Wilson,
Boredoms,
Qualms,
Sexual Harrassment,
Maurizio,
Dawn Penn,
Todd Rundgren,
James White and The Blacks,
Nico,
Rites of Spring,
Bang on a Can All-Stars,
Deakin,
Gabor Szabo,
Oblivians,
DJ Style,
the Bar-Kays,
Gil Scott Heron,
the Swans,
Sun Ra,
Justin Hinds & The Dominoes,
Rakim,
Althea and Donna,
Fort Wilson Riot,
Pharaoh Sanders and the Fire Engines,
Arthur Verocai,
Red Lorry Yellow Lorry,
Chris & Cosey,
Black Flag,
Curtis Mayfield,
EPMD,
Marine Girls,
Andrew Ashong & Theo Parrish,
Darondo,
The Royal Family And The Poor,
Letta Mbulu,
Eve St. Jones,
The Techniques,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.