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 Djibouti and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1976.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school London 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 clarinet 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 The Slackers to the rap 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 Lizzy Mercier Descloux. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every The Black Dice 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
In Retrospect,
Drive Like Jehu,
Arcadia,
The Grass Roots,
Black Pus,
Nik Kershaw,
Interpol,
Quantec,
John Holt,
Hoover,
Wolf Eyes,
Warsaw,
Judy Mowatt,
Eli Mardock,
Siouxsie and the Banshees,
Eyeless In Gaza,
Pharoah Sanders,
CMW,
Arab on Radar,
Don Cherry,
Susan Cadogan,
Public Enemy,
Kool G Rap & DJ Polo,
Skarface,
Thee Headcoats,
Procol Harum,
Heaven 17,
Tom Boy,
The Birthday Party,
Masters at Work,
EPMD,
Dark Day,
Hardrive,
Quando Quango,
Joy Division,
Lou Reed & Metallica,
The Cramps,
Maurizio,
Anthony Braxton,
Tubeway Army,
Chris & Cosey,
Newcleus,
Soul II Soul,
the Association,
Oppenheimer Analysis,
Frankie Knuckles,
The Cosmic Jokers,
The Victims,
Sly & The Family Stone,
The Stooges,
Half Japanese,
The Star Department,
Sister Nancy,
Stereo Dub,
Marc Almond,
Deakin,
Bluetip,
Sandy B,
Eric Dolphy,
Ken Boothe,
Teenage Jesus and the Jerks,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.