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 Guyana and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Houston 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator 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 The Residents to the electroclash kids.
I played it at Cafe Wha.
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 Robert Hood. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
X-102,
CMW,
The Dead C,
Unwound,
EPMD,
Half Japanese,
Bobby Byrd,
Scott Walker,
The Real Kids,
Alton Ellis,
Wighnomy Brothers & Robag Wruhme,
Scan 7,
Jandek,
Black Bananas,
Sound Behaviour,
Matthew Bourne,
kango's stein massive,
The Fall,
U.S. Maple,
Ohio Players,
The Skatalites,
Ossler,
Lindisfarne,
These Immortal Souls,
The Pretty Things,
Bush Tetras,
Magazine,
The Pop Group,
Patti Smith,
the Soft Cell,
Rosa Yemen,
Aaron Thompson,
Heaven 17,
Matthew Halsall,
Kango’s Stein Massive,
Rotary Connection,
Toni Rubio,
The Slits,
Erykah Badu,
Livin' Joy,
Brand Nubian,
Albert Ayler,
The Black Dice,
Pharaoh Sanders and the Fire Engines,
Lee Hazlewood,
Barry Ungar,
Marshall Jefferson,
Pantaleimon,
Eli Mardock,
Orchestral Manoeuvres in the Dark,
Sonic Youth,
Maleditus Sound,
Television,
Kenny Larkin,
Lower 48,
Dark Day,
Underground Resistance,
Kevin Saunderson,
The Shadows of Knight,
David Axelrod,
Henry Cow,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.