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 Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Manila and Manila.
I'm losing my edge to the art-school Bologna 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin 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 Black Sheep to the rap 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 Louis and Bebe Barron. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
The Real Kids,
Can,
Unrelated Segments,
Neu!,
Ash Ra Tempel,
London Community Gospel Choir,
Parry Music,
Heavy D & The Boyz,
Judy Mowatt,
Mantronix,
Gang of Four,
Barrington Levy,
Marcia Griffiths,
Funkadelic,
Crime,
Blossom Toes,
Nation of Ulysses,
Swell Maps,
Stereo Dub,
Idris Muhammad,
Darondo,
John Lydon,
K-Klass,
Crispian St. Peters,
Lou Reed & John Cale,
Quantec,
Excepter,
Subhumans,
Heaven 17,
The Martian,
Scan 7,
Easy Going,
Jawbox,
Popol Vuh,
Notorious BIG live in Amsterdam,
Bill Near,
Orchestral Manoeuvres in the Dark,
Rahsaan Roland Kirk,
Terror Squad Feat. Camron,
Justin Hinds & The Dominoes,
Kings Of Tomorrow,
The Durutti Column,
Ohio Players,
Cluster,
Rotary Connection,
Eyeless In Gaza,
Circle Jerks,
Saccharine Trust,
Little Man,
Jesper Dahlbäck,
Vainqueur,
Shoche,
David McCallum,
Reuben Wilson,
T.S.O.L.,
The Electric Prunes,
Angels of Light & Akron/Family,
Interpol,
Second Layer,
Banda Bassotti,
Ultravox,
Monolake, Monolake, Monolake, Monolake.
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.