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 Dominica and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 The Black Dice to the crunk 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 Rhythm & Sound. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every X-102 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
The Zeros,
the Soft Cell,
Rowland S Howard / Lydia Lunch,
Slick Rick,
The Slackers,
Brothers Johnson,
The Fire Engines,
The Seeds,
Henry Cow,
Sunsets and Hearts,
Bush Tetras,
Funkadelic,
Kenny Larkin,
Monks,
Ultimate Spinach,
Urselle,
Ossler,
Fear,
The Mojo Men,
The Techniques,
Scientists,
the Swans,
The United States of America,
Eli Mardock,
Organ,
Delon & Dalcan,
Joe Finger,
Country Teasers,
Mad Mike,
Bill Near,
These Immortal Souls,
Cameo,
The Young Rascals,
Country Joe & The Fish,
Sonny Sharrock,
A Flock of Seagulls,
The Shadows of Knight,
Intrusion,
Oblivians,
Agent Orange,
Whodini,
The Jesus and Mary Chain,
Eric B and Rakim,
The Skatalites,
New Order,
Electric Light Orchestra,
Isaac Hayes,
Gregory Isaacs,
Boredoms,
Lebanon Hanover,
The Neon Judgement,
Television Personalities,
Blancmange,
Joensuu 1685,
Ludus,
Dorothy Ashby,
Ornette Coleman,
Leonard Cohen,
World's Most,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.