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 Ivory Coast and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Salvador.
I'm losing my edge to the art-school Taipei 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 marimba 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 Masters at Work to the disco kids.
I played it at the Spitz.
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 Mo-Dettes. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every The Five Americans 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 a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Main Source,
the Bar-Kays,
The Angels of Light,
The Sisters of Mercy,
Surgeon,
KRS-One,
The Victims,
Newcleus,
The West Coast Pop Art Experimental Band,
Brick,
Jerry Gold Smith,
Subhumans,
LL Cool J,
OOIOO,
Sonny Sharrock,
Chris & Cosey,
Deutsch Amerikanische Freundschaft,
Glenn Branca,
Sister Nancy,
Isaac Hayes,
Nas,
The Wake,
Rekid,
L. Decosne,
Ronnie Foster,
Eyeless In Gaza,
Prince Buster,
Be Bop Deluxe,
Ajijia Myrayebe,
Black Bananas,
Reagan Youth,
The Fall,
Tim Buckley,
H. Thieme,
Eric Copeland,
Black Flag,
T. Rex,
Grandmaster Flash and the Furious Five,
The New Christs,
These Immortal Souls,
The Durutti Column,
Donny Hathaway,
Manfred Mann's Earth Band,
Bobbi Humphrey,
Swans,
Shoche,
Carl Craig,
Hasil Adkins,
The Last Poets,
Can,
Visage,
Nils Olav,
Suburban Knight,
The Star Department,
Crispian St. Peters,
Cluster,
The Human League,
Fugazi,
Lalann,
Warsaw,
Judy Mowatt,
The Move, The Move, The Move, The Move.
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.