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 Azerbaijan and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator 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 Reagan Youth to the grime 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 Avey Tare. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Angry Samoans,
Kool G Rap & DJ Polo,
June Days,
K-Klass,
Bill Wells,
Super Lover Cee & Casanova Rud,
Peter and Kerry,
Danielle Patucci,
Crooked Eye,
Robert Wyatt,
Zapp,
The Cowsills,
FM Einheit,
The Count Five,
Circle Jerks,
a-ha,
Bill Near,
ABBA,
The Offenders,
Sixth Finger,
Moby Grape,
Aaron Thompson,
The Dirtbombs,
Glenn Branca,
Zero Boys,
The Victims,
Von Mondo,
the Slits,
Bauhaus,
Heavy D & The Boyz,
Sugar Minott,
Neil Young & Crazy Horse,
Thee Headcoats,
Dorothy Ashby,
Kool Moe Dee,
Chrome,
Roy Ayers,
The Mighty Diamonds,
Letta Mbulu,
The Seeds,
Trumans Water,
Roxy Music,
Roy Ayers Ubiquity,
the Bar-Kays,
Panda Bear,
Motorama,
A Certain Ratio,
Arab on Radar,
Scan 7,
Country Joe & The Fish,
Darondo,
cv313,
The Peanut Butter Conspiracy,
The Litter,
John Lydon,
Theoretical Girls,
Loose Ends,
Blancmange,
Parry Music,
Mark Hollis,
Bush Tetras,
Sexual Harrassment,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.