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 Liechtenstein and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 Niagra to the rock 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 The Move. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Mark Hollis 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
China Crisis,
Tropical Tobacco,
the Slits,
Angels of Light & Akron/Family,
Oneida,
The Cramps,
F. McDonald,
Niagra,
Bauhaus,
Charles Mingus,
Graham Central Station,
Chris Corsano,
Pere Ubu,
Bluetip,
New Order,
Wire,
The American Breed,
This Heat,
B.T. Express,
The Invisible,
Anthony Braxton,
Pulsallama,
8 Eyed Spy,
The Divine Comedy,
Kango’s Stein Massive,
Gichy Dan,
the Association,
Teenage Jesus and the Jerks,
Marshall Jefferson,
Arab on Radar,
The Gories,
Crooked Eye,
The Remains,
Eurythmics,
Radiohead,
X-102,
Erykah Badu,
Ossler,
Dr. Dre and Snoop Doggy Dog,
R.M.O.,
Rowland S Howard / Lydia Lunch,
Ornette Coleman,
The Move,
Quantec,
Freddie Wadling,
Lightning Bolt,
The Star Department,
Visionaries,LMNO, T- Love & Iriscience,
Joe Finger,
Swans,
Suburban Knight,
The Barracudas,
Circle Jerks,
John Coltrane,
Pete Rock & C.L. Smooth,
The Doobie Brothers,
World's Most,
Lucky Dragons,
Junior Murvin,
Lebanon Hanover,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.