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 Colombia and from Taipei.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the snare 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 Gang Gang Dance to the electroclash 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 Agent Orange. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Desert Stars 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 '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Dr. Dre and Snoop Doggy Dog,
10cc,
Jerry Gold Smith,
Liaisons Dangereuses,
Ken Boothe,
CMW,
New York Dolls,
The Names,
Alison Limerick,
Leonard Cohen,
The Knickerbockers,
Gian Franco Pienzio,
Jimmy McGriff,
Quadrant,
Neil Young,
Robert Görl,
Index,
Roxette,
Rosa Yemen,
Unrelated Segments,
OOIOO,
Scrapy,
Röyhkä ja Rättö ja Lehtisalo,
June Days,
The United States of America,
a-ha,
Jesper Dahlbäck,
Louis and Bebe Barron,
Lyres,
Siouxsie and the Banshees,
Bronski Beat,
Rakim,
The Young Rascals,
Jerry's Kids,
Goldenarms,
Accadde A,
Glenn Branca,
Shoche,
Kings Of Tomorrow,
Symarip,
Lizzy Mercier Descloux,
Big Daddy Kane,
Roy Ayers Ubiquity,
The Trojans,
Ultramagnetic MC's,
Amon Düül II,
Japan,
Lafayette Afro Rock Band,
Grandmaster Flash,
Oneida,
The Electric Prunes,
Dead Boys,
The Blackbyrds,
Easy Going,
R.M.O.,
Boz Scaggs,
Unwound,
Yazoo,
Arthur Verocai,
Gary Puckett & The Union Gap,
Derrick May, Derrick May, Derrick May, Derrick May.
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.