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 Croatia and from Winnipeg.
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 1963 to 1975.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school Houston 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 guitar 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 Main Source to the rap kids.
I played it at the Troubador.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
kango's stein massive,
Amon Düül II,
Glambeats Corp.,
Glenn Branca,
The Associates,
The Selecter,
Barry Ungar,
Tom Boy,
cv313,
Unrelated Segments,
Gil Scott-Heron & Brian Jackson,
Easy Going,
The Mojo Men,
Roger Hodgson,
The Chocolate Watch Band,
Mark Hollis,
DJ Style,
The Sound,
Peter & Gordon,
James White and The Blacks,
Model 500,
Tim Buckley,
Aural Exciters,
Rhythm & Sound,
Gang of Four,
Schoolly D,
Thinking Fellers Union Local 282,
Rhythim Is Rhythim,
The Knickerbockers,
Public Image Ltd.,
Interpol,
Pulsallama,
The United States of America,
the Normal,
Warsaw,
New York Dolls,
The Cosmic Jokers,
Strawberry Alarm Clock,
Swell Maps,
Stockholm Monsters,
Scrapy,
Sly & The Family Stone,
Trumans Water,
David McCallum,
Grandmaster Flash,
Gang Green,
Blossom Toes,
Animal Collective,
Fort Wilson Riot,
DJ Sneak,
Sam Rivers,
Rosa Yemen,
Grey Daturas,
CMW,
Harpers Bizarre,
The Doors,
Todd Terry,
Derrick Morgan,
James Chance & The Contortions,
Hot Snakes,
Joyce Sims,
Ultimate Spinach,
Mars, Mars, Mars, Mars.
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.