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 Micronesia and from Portland.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Paris 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare 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 Lou Reed to the electroclash kids.
I played it at the Crocodile.
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 The Cure. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal grime 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 a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Joey Negro,
Magazine,
The Pop Group,
The Shadows of Knight,
Hoover,
Orchestral Manoeuvres in the Dark,
Arcadia,
Sight & Sound,
Chrome,
New York Dolls,
Adolescents,
Graham Central Station,
Bobby Byrd,
Flash Fearless,
Popol Vuh,
Sun City Girls,
Super Lover Cee & Casanova Rud,
Saccharine Trust,
Fad Gadget,
Monks,
Kevin Saunderson,
Wasted Youth,
Alison Limerick,
The Dead C,
Altered Images,
Cecil Taylor,
Delta 5,
Aural Exciters,
E-Dancer,
the Bar-Kays,
Wally Richardson,
Fear,
The Modern Lovers,
Rhythm & Sound,
Kaleidoscope,
Yazoo,
Absolute Body Control,
Scan 7,
Lee Hazlewood,
OOIOO,
Susan Cadogan,
Pole,
K-Klass,
Wire,
Shuggie Otis,
The Neon Judgement,
The Alarm Clocks,
Notorious Big And Bone Thugs,
Gong,
Yaz,
Johnny Osbourne,
Second Layer,
Wolf Eyes,
The Residents,
Jesper Dahlbäck,
Echospace,
Organ,
Cameo,
Quadrant,
Deutsch Amerikanische Freundschaft,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.