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 Kuwait 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 1969 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Halifax 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 It's A Beautiful Day to the techno 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 The Fall. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
The Remains,
David McCallum,
Graham Central Station,
Cecil Taylor,
Amazonics,
Newcleus,
Stiv Bators,
JFA,
Lyres,
Black Flag,
Peter & Gordon,
Ronnie Foster,
Reuben Wilson,
CMW,
Easy Going,
Jawbox,
48th St. Collective,
Tommy Roe,
Rapeman,
Sugar Minott,
John Foxx,
The Gladiators,
Lizzy Mercier Descloux,
Oblivians,
Rowland S Howard / Lydia Lunch,
Gabor Szabo,
Darondo,
Eden Ahbez,
The Evens,
Au Pairs,
Wighnomy Brothers & Robag Wruhme,
Liaisons Dangereuses,
Chris Corsano,
New Age Steppers,
The Peanut Butter Conspiracy,
Grandmaster Flash and the Furious Five,
The Chocolate Watch Band,
Monks,
D'Angelo,
Funkadelic,
Bobby Sherman,
the Bar-Kays,
Gang Green,
Throbbing Gristle,
X-102,
Loose Ends,
Camron Feat. Memphis Bleek And Beenie Seigel,
Big Daddy Kane,
Flash Fearless,
E-Dancer,
Jeff Mills,
Tom Boy,
Jesper Dahlbäck,
Radio Birdman,
Lou Reed & John Cale,
Grauzone,
the Swans,
The Index,
Echo & the Bunnymen,
Michelle Simonal,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.