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 Korea North and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1976.
I'm losing my edge.
To all the kids in Seoul and Beijing.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Slave to the electroclash kids.
I played it at the 40 Watt.
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 Visage. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Babytalk,
Traffic Nightmare,
Aural Exciters,
Letta Mbulu,
Avey Tare & Kría Brekkan,
Andrew Ashong & Theo Parrish,
X-Ray Spex,
Cluster,
Monks,
Fugazi,
The Angels of Light,
Aloha Tigers,
New York Dolls,
Scratch Acid,
Rapeman,
T.S.O.L.,
The Skatalites,
The Cramps,
Pharoah Sanders,
The Dirtbombs,
Urselle,
Lower 48,
Subhumans,
Bronski Beat,
Throbbing Gristle,
Gil Scott Heron,
The Doobie Brothers,
Icehouse,
Yazoo,
LL Cool J,
The Count Five,
Rotary Connection,
The Remains,
Man Parrish,
Tropical Tobacco,
Shuggie Otis,
Camron Feat. Memphis Bleek And Beenie Seigel,
kango's stein massive,
Colin Newman,
Gil Scott-Heron & Brian Jackson,
The Royal Family And The Poor,
The Martian,
Sonny Sharrock,
X-102,
Lucky Dragons,
Pere Ubu,
The Techniques,
Nation of Ulysses,
Sugar Minott,
B.T. Express,
10cc,
Slick Rick,
Smog,
Rekid,
The Gories,
Mission of Burma,
Ituana,
Barrington Levy,
the Slits,
The Gladiators,
Qualms,
The Human League, The Human League, The Human League, The Human League.
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.