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 Pakistan and from Salvador.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1978.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Winnipeg 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 X-101 to the electroclash kids.
I played it at Trash.
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 Banda Bassotti. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Bauhaus,
Black Pus,
The Gories,
New Age Steppers,
Funky Four + One,
Barbara Tucker,
Terrestrial Tones,
Bang On A Can,
Jesper Dahlback,
Leonard Cohen,
Motorama,
Andrew Ashong & Theo Parrish,
Barry Ungar,
Pierre Henry,
Main Source,
Eden Ahbez,
the Slits,
The Human League,
Marc Almond,
Gang Starr,
Mad Mike,
X-102,
A Flock of Seagulls,
Lalo Schifrin,
Deepchord,
Lafayette Afro Rock Band,
The Modern Lovers,
Harry Pussy,
Sarah Menescal,
Accadde A,
Ultramagnetic MC's,
Camron Feat. Jay Z And Juelz,
These Immortal Souls,
Index,
Thompson Twins,
Minnie Riperton,
H. Thieme,
Slave,
Rotary Connection,
The West Coast Pop Art Experimental Band,
Funkadelic,
New York Dolls,
The United States of America,
The Pretty Things,
Lonnie Liston Smith,
Sly & The Family Stone,
Marmalade,
Big Daddy Kane,
Eric Copeland,
Albert Ayler,
Newcleus,
The Mighty Diamonds,
John Lydon,
Agent Orange,
Amon Düül II,
Liliput,
Neil Young & Crazy Horse,
Supertramp,
Bobby Sherman,
Rhythm & Sound,
The Remains,
PIL, PIL, PIL, PIL.
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.