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 Panama and from Delhi.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
I'm losing my edge to the art-school Spokane 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 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 Lalann to the crunk kids.
I played it at Trash.
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 It's A Beautiful Day. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Half Japanese,
New York Dolls,
Camouflage,
Rod Modell,
Bauhaus,
Dave Gahan,
Soul Sonic Force,
Gil Scott Heron,
Derrick May,
Sex Pistols,
48th St. Collective,
The Detroit Cobras,
Rites of Spring,
Eden Ahbez,
Suburban Knight,
Outsiders,
Fifty Foot Hose,
Vaughan Mason & Crew,
Lightning Bolt,
Ossler,
Peter Gordon & Love of Life Orchestra,
Buzzcocks,
Soulsonic Force,
Bob Dylan,
Idris Muhammad,
Pantaleimon,
Mantronix,
Black Pus,
T. Rex,
Throbbing Gristle,
Ultra Naté,
Black Sheep,
Lalann,
Glambeats Corp.,
Bobby Sherman,
The Dirtbombs,
Prince Buster,
Quantec,
Pole,
Cymande,
Bluetip,
The Motions,
The Cowsills,
AZ,
China Crisis,
The Blues Magoos,
Zapp,
Sight & Sound,
Visionaries,LMNO, T- Love & Iriscience,
Justin Hinds & The Dominoes,
Minnie Riperton,
Royal Trux,
Stereo Dub,
The Happenings,
Grandmaster Flash,
Cybotron,
the Normal,
Sad Lovers and Giants,
Marcia Griffiths,
Robert Wyatt,
Television Personalities,
Fluxion, Fluxion, Fluxion, Fluxion.
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.