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 Micronesia and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Unwound to the funk kids.
I played it at the Spitz.
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 Major Organ And The Adding Machine. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
The Angels of Light,
Los Fastidios,
Dead Boys,
Matthew Halsall,
Flipper,
Wally Richardson,
Bobby Womack,
Agent Orange,
Pharoah Sanders,
Terrestrial Tones,
The Buckinghams,
Yellowson,
Siglo XX,
Lightning Bolt,
Robert Wyatt,
Roxette,
Duran Duran,
Swell Maps,
Yaz,
Can,
Marc Romboy vs. Booka Shade,
Barbara Tucker,
Sight & Sound,
Hoover,
Organ,
U.S. Maple,
Warren Ellis,
Electric Light Orchestra,
Eddi Front,
Con Funk Shun,
Wighnomy Brothers & Robag Wruhme,
The Dave Clark Five,
Nico,
Lou Christie,
Marine Girls,
Fela Kuti,
The Standells,
The Remains,
La Düsseldorf,
Camouflage,
Bronski Beat,
June of 44,
Deepchord,
Angry Samoans,
DJ Style,
Maurizio,
David Bowie,
Inner City,
Lakeside,
Underground Resistance,
The Smiths,
The Count Five,
Kerri Chandler,
Colin Newman,
Grauzone,
Pulsallama,
Tomorrow,
Jandek,
The Fuzztones,
Ralphi Rosario,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.