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 Ethiopia and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Spokane 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 808 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 Altered Images to the grime kids.
I played it at the Astoria.
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 Young Marble Giants. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Fatback Band 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Scion,
Ice-T,
Rowland S Howard / Lydia Lunch,
Nirvana,
Mary Jane Girls,
Gary Puckett & The Union Gap,
Severed Heads,
Radiopuhelimet,
Adolescents,
The Stooges,
Skarface,
Outsiders,
The Modern Lovers,
Metal Thangz,
Subhumans,
Janne Schatter,
It's A Beautiful Day,
Deutsch Amerikanische Freundschaft,
Sarah Menescal,
Bobby Sherman,
Sound Behaviour,
Delta 5,
Rhythm & Sound,
The Fugs,
Bluetip,
The Neon Judgement,
Jeru the Damaja,
Swell Maps,
The Dead C,
Kenny Larkin,
Lindisfarne,
The Fuzztones,
Depeche Mode,
Bronski Beat,
Siglo XX,
the Bar-Kays,
Quando Quango,
Electric Light Orchestra,
Teenage Jesus and the Jerks,
Andrew Hill,
Sam Rivers,
Kerrie Biddell,
Selector Dub Narcotic,
Crooked Eye,
Bill Near,
Anthony Braxton,
The American Breed,
The Happenings,
Oneida,
Cabaret Voltaire,
Matthew Halsall,
Cameo,
The Alarm Clocks,
Lungfish,
Bootsy Collins,
Dr. Dre and Snoop Doggy Dog,
The Smiths,
Au Pairs,
Siouxsie and the Banshees,
ABC, ABC, ABC, ABC.
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.