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 Bulgaria and from Glasgow.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Toronto and Beijing.
I'm losing my edge to the art-school Tehran 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 Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Flash Fearless 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 Robert Görl. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
KRS-One,
Royal Trux,
The Cowsills,
Joe Smooth,
Nik Kershaw,
Babytalk,
ABC,
Captain Beefheart & His Magic Band,
Pylon,
Malaria!,
Unwound,
Cymande,
Amon Düül II,
The Names,
Aural Exciters,
Gabor Szabo,
Joensuu 1685,
Whodini,
the Soft Cell,
Howard Jones,
Livin' Joy,
Justin Hinds & The Dominoes,
Amon Düül,
Manfred Mann's Earth Band,
Dennis Brown,
The Grass Roots,
Duran Duran,
Visage,
The Music Machine,
Marvin Gaye,
Sonic Youth,
Sexual Harrassment,
David McCallum,
Dr. Dre and Snoop Doggy Dog,
Kenny Larkin,
Rufus Thomas,
Graham Central Station,
Schoolly D,
Tommy Roe,
Fatback Band,
Matthew Bourne,
Rhythim Is Rhythim,
The Dead C,
Robert Wyatt,
Ultravox,
Massinfluence,
Red Lorry Yellow Lorry,
The Alarm Clocks,
Lou Reed,
Animal Collective,
Fifty Foot Hose,
Hot Snakes,
Can,
Marc Romboy vs. Booka Shade,
Sugar Minott,
Kool Moe Dee,
Minutemen,
Deadbeat,
Beasts of Bourbon,
Albert Ayler,
The Leaves,
Monolake,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.