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 Canada and from Houston.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Lille and New York.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Dorothy Ashby to the crunk kids.
I played it at the Troubador.
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 Ludus. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every cv313 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 '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Popol Vuh,
Fear,
Thee Headcoats,
Absolute Body Control,
Avey Tare,
Bootsy Collins,
Aaron Thompson,
Con Funk Shun,
Thinking Fellers Union Local 282,
DNA,
Scientists,
Negative Approach,
Stetsasonic,
Kings Of Tomorrow,
Kool G Rap & DJ Polo,
Model 500,
Outsiders,
Howard Jones,
Technova,
Notorious BIG live in Amsterdam,
The Seeds,
Nation of Ulysses,
Zero Boys,
Swans,
Echospace,
Malaria!,
Boredoms,
JFA,
The Sound,
Ultravox,
The Motions,
Soul Sonic Force,
The Litter,
The Peanut Butter Conspiracy,
Nico,
Flipper,
Marshall Jefferson,
Echo & the Bunnymen,
Y Pants,
Bobby Hutcherson,
The Fuzztones,
Roxy Music,
Aural Exciters,
Robert Hood,
Joe Smooth,
Shoche,
Sonny Sharrock,
Sam Rivers,
Barbara Tucker,
The Birthday Party,
Von Mondo,
John Lydon,
Bobbi Humphrey,
Robert Görl,
Bang on a Can All-Stars,
the Fania All-Stars,
Dorothy Ashby,
Sun Ra Arkestra,
The Slits,
The Cramps,
The Monks, The Monks, The Monks, The Monks.
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.