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 Algeria and from Delhi.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Seoul and Glasgow.
I'm losing my edge to the art-school Bremen 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum 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 Japan to the punk 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 Wolf Eyes. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
R.M.O.,
The Dirtbombs,
Kings Of Tomorrow,
Soft Machine,
Silicon Teens,
Khruangbin,
the Association,
MC5,
The Black Dice,
Bush Tetras,
The Angels of Light,
The Alarm Clocks,
Quantec,
Nas,
Desert Stars,
Sonic Youth,
Rufus Thomas,
Kevin Saunderson,
Joey Negro,
Erasure,
The Fuzztones,
EPMD,
Ituana,
Terry Callier,
Mission of Burma,
Kool G Rap & DJ Polo,
Animal Collective,
D'Angelo,
Rod Modell,
Matthew Halsall,
Eli Mardock,
Pantytec,
The Slits,
Alton Ellis,
Echospace,
Qualms,
Rapeman,
Alice Coltrane,
CMW,
Black Flag,
Peter and Kerry,
Harry Pussy,
Neil Young,
Ossler,
The Fire Engines,
Young Marble Giants,
Arthur Verocai,
Liaisons Dangereuses,
Negative Approach,
The Remains,
Jimmy McGriff,
Ultimate Spinach,
Lyres,
Newcleus,
The Human League,
The Blues Magoos,
Maleditus Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Average White Band,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.