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 Belize and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Lyon 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Pylon to the jazz 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 The Kinks. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
The Moleskins,
the Slits,
Oppenheimer Analysis,
Angels of Light & Akron/Family,
Agent Orange,
The Star Department,
Harpers Bizarre,
Chris & Cosey,
Bad Manners,
Reagan Youth,
Morten Harket,
Can,
Albert Ayler,
Tommy Roe,
Teenage Jesus and the Jerks,
Don Cherry,
Henry Cow,
X-101,
New Age Steppers,
Blake Baxter,
Technova,
Malaria!,
Janne Schatter,
Andrew Hill,
The Men They Couldn't Hang,
The American Breed,
Rahsaan Roland Kirk,
Lou Reed,
The Knickerbockers,
The Velvet Underground,
Reuben Wilson,
The Durutti Column,
Circle Jerks,
Public Enemy,
JFA,
Soulsonic Force,
ABC,
Talk Talk,
Lebanon Hanover,
Andrew Ashong & Theo Parrish,
EPMD,
Godley & Creme,
Idris Muhammad,
Model 500,
The Offenders,
Ice-T,
China Crisis,
Camberwell Now,
Sparks,
D'Angelo,
The Slits,
The West Coast Pop Art Experimental Band,
The Gap Band,
The Mighty Diamonds,
Alton Ellis,
Nick Cave & The Bad Seeds,
Glenn Branca,
Ituana,
Harmonia,
Nas,
Aaron Thompson,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.