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-Bissau and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Glasgow 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 oboe 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 Excepter to the disco kids.
I played it at the Roxy.
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 Clear Light. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
The Gap Band,
Sun City Girls,
Mo-Dettes,
Angels of Light & Akron/Family,
Kas Product,
Crispy Ambulance,
Basic Channel,
Alphaville,
Danielle Patucci,
Nik Kershaw,
Banda Bassotti,
The Monks,
Gian Franco Pienzio,
Grauzone,
Lebanon Hanover,
Bill Near,
Massinfluence,
The Detroit Cobras,
The Raincoats,
Throbbing Gristle,
Ultimate Spinach,
DNA,
The Cure,
Freddie Wadling,
Kenny Larkin,
Fort Wilson Riot,
The Busters,
Eric Dolphy,
The Trojans,
Isaac Hayes,
Avey Tare's Slasher Flicks,
Pulsallama,
Brass Construction,
The Wake,
Marcia Griffiths,
Skaos,
Liliput,
Arab on Radar,
Derrick Morgan,
Loose Ends,
Glambeats Corp.,
Vladislav Delay,
cv313,
Jeff Lynne,
Prince Buster,
Sparks,
Hot Snakes,
Marshall Jefferson,
Tom Boy,
The Cramps,
The Smiths,
The Divine Comedy,
The Saints,
Vaughan Mason & Crew,
Stetsasonic,
Erasure,
Boredoms,
The Electric Prunes,
Art Ensemble Of Chicago,
Silicon Teens,
James Chance & The Contortions,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.