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 Guinea and from Bremen.
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 Lagos and Beijing.
I'm losing my edge to the art-school Beijing 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator 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 Sun Ra to the disco kids.
I played it at the Hacienda.
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 David Axelrod. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Sparks,
Be Bop Deluxe,
June Days,
Mad Mike,
The Seeds,
Byron Stingily,
Mantronix,
Henry Cow,
Main Source,
Pylon,
The Slackers,
K-Klass,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Glambeats Corp.,
Bootsy's Rubber Band,
The Young Rascals,
Kenny Larkin,
Magma,
Metal Thangz,
Tubeway Army,
Funkadelic,
Section 25,
Moby Grape,
The Move,
Avey Tare,
Soul Sonic Force,
Lightning Bolt,
The Cowsills,
Magazine,
Q and Not U,
The Fugs,
Quando Quango,
Faust,
Nick Cave & The Bad Seeds,
The Blackbyrds,
Khruangbin,
Kas Product,
Smog,
PIL,
Beasts of Bourbon,
F. McDonald,
The Shadows of Knight,
Public Image Ltd.,
Scott Walker,
Scratch Acid,
Minnie Riperton,
John Coltrane,
The Alarm Clocks,
Unrelated Segments,
Lou Reed & John Cale,
Johnny Osbourne,
The Star Department,
T. Rex,
Gerry Rafferty,
Mary Jane Girls,
Brass Construction,
Sister Nancy,
Art Ensemble Of Chicago,
Bobbi Humphrey,
Cabaret Voltaire,
Niagra,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.