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 Grenada and from Salvador.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Woodstock 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro 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 Kas Product to the grunge kids.
I played it at the Spitz.
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 Monolake. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Wighnomy Brothers & Robag Wruhme record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Deadbeat,
Bill Wells,
Ajijia Myrayebe,
Erykah Badu,
The Zeros,
La Düsseldorf,
Popol Vuh,
Kurtis Blow,
Simply Red,
Minny Pops,
The Associates,
Talk Talk,
Slick Rick,
ABC,
the Soft Cell,
H. Thieme,
Oppenheimer Analysis,
Nico,
Arab on Radar,
Icehouse,
Ice-T,
UT,
The West Coast Pop Art Experimental Band,
Bobby Byrd,
Joe Smooth,
Maleditus Sound,
Brothers Johnson,
Barbara Tucker,
The Last Poets,
Lou Christie,
The Fuzztones,
Bluetip,
Groovy Waters,
Hashim,
Mark Hollis,
Letta Mbulu,
X-Ray Spex,
The New Christs,
Circle Jerks,
Janne Schatter,
Electric Light Orchestra,
Youth Brigade,
Audionom,
Buzzcocks,
Iggy Pop,
Magma,
Brick,
Von Mondo,
Underground Resistance,
Robert Hood,
Jandek,
A Certain Ratio,
The Slits,
Stereo Dub,
Fela Kuti,
The Motions,
Eric Copeland,
Can,
the Normal,
Sound Behaviour,
Section 25, Section 25, Section 25, Section 25.
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.