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 Jordan and from Lille.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 Hot Snakes to the punk kids.
I played it at CBGB's.
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 Urselle. All the underground hits.
All Swans tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
The Names,
Negative Approach,
the Slits,
Teenage Jesus and the Jerks,
Masters at Work,
Pharoah Sanders,
Moby Grape,
These Immortal Souls,
Siglo XX,
The Young Rascals,
Cabaret Voltaire,
Mo-Dettes,
the Normal,
Anakelly,
Surgeon,
the Soft Cell,
Marc Romboy vs. Booka Shade,
Ultravox,
Lightning Bolt,
Harpers Bizarre,
cv313,
KRS-One,
Major Organ And The Adding Machine,
Bluetip,
Ash Ra Tempel,
Skaos,
ABC,
the Human League,
Prince Buster,
The Motions,
Eric B and Rakim,
Bizarre Inc.,
Kevin Saunderson,
Gil Scott Heron,
Kas Product,
Sonny Sharrock,
Jerry Gold Smith,
Wings,
Sun Ra,
Circle Jerks,
K-Klass,
Essential Logic,
The Victims,
Jesper Dahlbäck,
48th St. Collective,
Stetsasonic,
The Vogues,
Erasure,
Sly & The Family Stone,
Janne Schatter,
R.M.O.,
Pussy Galore,
Supertramp,
Ponytail,
Sound Behaviour,
Section 25,
Massinfluence,
The Index, The Index, The Index, The Index.
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.