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 Kazakhstan and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Bremen.
I'm losing my edge to the art-school Manila 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 spring reverb 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 Fat Boys to the funk 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 Crash Course in Science. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
The Gap Band,
Scratch Acid,
Cymande,
Young Marble Giants,
ABBA,
Outsiders,
The Happenings,
Bush Tetras,
Sad Lovers and Giants,
Man Parrish,
R.M.O.,
Heavy D & The Boyz,
The Detroit Cobras,
Major Organ And The Adding Machine,
Bang on a Can All-Stars,
Chris Corsano,
Fatback Band,
Avey Tare's Slasher Flicks,
Electric Prunes,
Nils Olav,
the Swans,
Joensuu 1685,
Barry Ungar,
Soft Machine,
Jesper Dahlbäck,
The Fuzztones,
The Alarm Clocks,
Brand Nubian,
Deutsch Amerikanische Freundschaft,
Monks,
the Bar-Kays,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Techniques,
Sun Ra,
AZ,
These Immortal Souls,
Gil Scott-Heron and Jamie xx,
Technova,
Arthur Verocai,
Tomorrow,
Lower 48,
Bobby Byrd,
The Move,
Harry Pussy,
Massinfluence,
The Busters,
Duran Duran,
Kurtis Blow,
Au Pairs,
Peter and Kerry,
Camouflage,
Alton Ellis,
a-ha,
Ultra Naté,
Albert Ayler,
Patti Smith,
Tres Demented,
kango's stein massive,
Matthew Bourne,
Curtis Mayfield,
Dave Gahan,
Fifty Foot Hose,
The Jesus and Mary Chain,
Arcadia, Arcadia, Arcadia, Arcadia.
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.