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 Brunei and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1974.
I'm losing my edge.
To all the kids in Mexico City and Milan.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 The Young Rascals to the funk kids.
I played it at the Roxy.
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 The American Breed. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal grime 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Arthur Verocai,
Oppenheimer Analysis,
Grandmaster Flash and the Furious Five,
Lower 48,
Sad Lovers and Giants,
Black Flag,
Jacob Miller,
Zero Boys,
Wire,
Kevin Saunderson,
Ornette Coleman,
Neil Young,
The American Breed,
Harmonia,
Magazine,
8 Eyed Spy,
Kerri Chandler,
Porter Ricks,
Minny Pops,
L. Decosne,
Symarip,
Notorious BIG live in Amsterdam,
Sparks,
Bang On A Can,
Lyres,
Gil Scott Heron,
Ultimate Spinach,
Radio Birdman,
Spoonie Gee,
T. Rex,
Bad Manners,
Blake Baxter,
Bobby Byrd,
Spandau Ballet,
The Seeds,
Hot Snakes,
The Smoke,
Ohio Players,
Lonnie Liston Smith,
Nico,
Donny Hathaway,
Mad Mike,
Panda Bear,
New Age Steppers,
Fad Gadget,
Mars,
Mantronix,
Kayak,
Sight & Sound,
Boogie Down Productions,
Gian Franco Pienzio,
Sound Behaviour,
Art Ensemble Of Chicago,
Heaven 17,
Justin Hinds & The Dominoes,
The Vogues,
Sandy B,
The Pretty Things,
Letta Mbulu,
Lou Christie,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.