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 Burkina and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1965 to 1973.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Jakarta 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 mellotron sounds with much patience.
I was there when David Bowie 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 Nils Olav to the techno 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 Porter Ricks. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Fugazi record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Slave,
Archie Shepp,
Jeru the Damaja,
David Bowie,
Suburban Knight,
Teenage Jesus and the Jerks,
Rites of Spring,
Radio Birdman,
Hot Snakes,
Lakeside,
The Raincoats,
The Trojans,
Minutemen,
The Pop Group,
Monolake,
the Slits,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Louis and Bebe Barron,
Byron Stingily,
Leonard Cohen,
Toni Rubio,
The Electric Prunes,
The Offenders,
Severed Heads,
Kurtis Blow,
The Alarm Clocks,
the Bar-Kays,
Quando Quango,
The Blackbyrds,
Marc Romboy vs. Booka Shade,
Nation of Ulysses,
Stetsasonic,
Sound Behaviour,
Sexual Harrassment,
Lyres,
L. Decosne,
cv313,
X-101,
Q65,
The Monks,
48th St. Collective,
Faust,
Gil Scott-Heron & Brian Jackson,
Minny Pops,
Joy Division,
Pagans,
Lafayette Afro Rock Band,
PIL,
Albert Ayler,
Porter Ricks,
The Litter,
Malaria!,
Marshall Jefferson,
The Dave Clark Five,
Josef K,
Selector Dub Narcotic,
Steve Hackett,
Ohio Players,
E-Dancer,
Crispy Ambulance,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.