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 Laos and from Jakarta.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Milan 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Sonics to the grunge kids.
I played it at Trash.
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 Cabaret Voltaire. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Sandy B 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Todd Rundgren,
Fugazi,
Roger Hodgson,
The Kinks,
Pierre Henry,
Jacques Brel,
Arthur Verocai,
Crime,
Iggy Pop,
Spandau Ballet,
Ultra Naté,
Unwound,
Television Personalities,
Funkadelic,
Ronnie Foster,
Grauzone,
Avey Tare & Kría Brekkan,
Hasil Adkins,
Lakeside,
The Dirtbombs,
Fela Kuti,
Thee Headcoats,
Soft Machine,
Sight & Sound,
Tom Boy,
T. Rex,
Oppenheimer Analysis,
The Sonics,
Peter and Kerry,
The Slackers,
Sällskapet,
The Doors,
The Motions,
Severed Heads,
kango's stein massive,
David McCallum,
Public Image Ltd.,
Boogie Down Productions,
Deakin,
CMW,
The Human League,
Beasts of Bourbon,
Roy Ayers Ubiquity,
Stereo Dub,
The Fall,
The Five Americans,
The Move,
Los Fastidios,
The Velvet Underground,
Marshall Jefferson,
Marvin Gaye,
Flipper,
Soft Cell,
Barrington Levy,
The J.B.'s,
Tomorrow,
Tommy Roe,
Brick,
Gary Puckett & The Union Gap,
Josef K,
Soul II Soul,
Circle Jerks,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.