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 Egypt and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Manila 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Angry Samoans to the rap kids.
I played it at the 40 Watt.
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 Ten City. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every The Fortunes 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Mo-Dettes,
Motorama,
Lou Christie,
Soft Cell,
Urselle,
David Axelrod,
Malaria!,
Jandek,
The Men They Couldn't Hang,
Neil Young,
The Golliwogs,
Lucky Dragons,
Minutemen,
Be Bop Deluxe,
K-Klass,
Susan Cadogan,
Fifty Foot Hose,
Avey Tare,
JFA,
Eli Mardock,
The Flesh Eaters,
The Misunderstood,
Dr. Dre and Snoop Doggy Dog,
Qualms,
Procol Harum,
Rites of Spring,
The Peanut Butter Conspiracy,
The Shadows of Knight,
Warsaw,
Icehouse,
Ken Boothe,
Ash Ra Tempel,
Von Mondo,
Peter Gordon & Love of Life Orchestra,
Television Personalities,
Tubeway Army,
Suburban Knight,
R.M.O.,
Carl Craig,
ABC,
Mandrill,
Sight & Sound,
Funky Four + One,
Sly & The Family Stone,
Gichy Dan,
Soul II Soul,
The Black Dice,
David McCallum,
The Moody Blues,
The Remains,
Cluster,
The Pretty Things,
Rowland S Howard / Lydia Lunch,
Toni Rubio,
Electric Prunes,
AZ,
Vaughan Mason & Crew,
John Foxx,
Neil Young & Crazy Horse,
The Leaves,
World's Most,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.