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 Germany and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Taipei.
I'm losing my edge to the art-school Portland 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Aaron Thompson to the rock 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 kango's stein massive. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
John Lydon,
Sight & Sound,
The Electric Prunes,
Dennis Brown,
Thee Headcoats,
PIL,
Sound Behaviour,
U.S. Maple,
Swans,
Reagan Youth,
Pantytec,
Junior Murvin,
Rhythim Is Rhythim,
Blake Baxter,
Lungfish,
Dr. Dre and Snoop Doggy Dog,
Alison Limerick,
Hot Snakes,
Electric Prunes,
Mark Hollis,
The Detroit Cobras,
Harry Pussy,
Deakin,
Boogie Down Productions,
D'Angelo,
The Stooges,
Rapeman,
Pulsallama,
Kango’s Stein Massive,
The Gories,
Outsiders,
Rowland S Howard / Lydia Lunch,
Joey Negro,
Jeff Lynne,
Suburban Knight,
a-ha,
E-Dancer,
Nas,
The Blackbyrds,
Maleditus Sound,
Johnny Clarke,
Charles Mingus,
Intrusion,
Reuben Wilson,
Amon Düül,
The Five Americans,
Soulsonic Force,
Idris Muhammad,
Sarah Menescal,
Heaven 17,
The Moleskins,
The Cosmic Jokers,
Aswad,
Matthew Bourne,
Swell Maps,
Susan Cadogan,
The Divine Comedy,
Jawbox,
ABC, ABC, ABC, ABC.
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.