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 Slovakia and from Mexico City.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Accra and Seoul.
I'm losing my edge to the art-school Shanghai 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 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 Alison Limerick to the electroclash kids.
I played it at Cafe Wha.
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 Tres Demented. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Bush Tetras 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Soul II Soul,
Thompson Twins,
Fifty Foot Hose,
Gil Scott-Heron and Jamie xx,
The West Coast Pop Art Experimental Band,
The Pretty Things,
Magazine,
A Certain Ratio,
Davy DMX,
Trumans Water,
Tommy Roe,
Fatback Band,
Crooked Eye,
Negative Approach,
The Angels of Light,
Ohio Players,
Larry & the Blue Notes,
The Remains,
Ponytail,
Boz Scaggs,
Unrelated Segments,
Teenage Jesus and the Jerks,
The Alarm Clocks,
The Grass Roots,
Joey Negro,
Reuben Wilson,
In Retrospect,
Buzzcocks,
Eric Copeland,
L. Decosne,
Cluster,
Soft Machine,
The Mummies,
Gichy Dan,
Siglo XX,
The Barracudas,
Bang on a Can All-Stars,
Gabor Szabo,
The Cure,
Wings,
Fear,
Nirvana,
Laurel Aitken,
Kauko Röyhkä ja Narttu,
Sugar Minott,
Zero Boys,
Depeche Mode,
The Doobie Brothers,
Chris & Cosey,
Ornette Coleman,
X-102,
Hot Snakes,
Marc Romboy vs. Booka Shade,
Swans,
Alton Ellis,
Kenny Larkin,
Make Up,
Anthony Braxton,
The Five Americans,
8 Eyed Spy,
Robert Görl,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.