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 Antigua and from Manila.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Seoul.
I'm losing my edge to the art-school Columbus 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 at the first Suicide practice in a loft in New York.
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 Joyce Sims to the rap 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 Ultravox. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Kerrie Biddell,
Crime,
X-Ray Spex,
Joe Smooth,
Deepchord,
the Germs,
Mary Jane Girls,
Sällskapet,
Ultra Naté,
Fat Boys,
Loose Ends,
The Real Kids,
Delon & Dalcan,
Blancmange,
The American Breed,
Anakelly,
Tomorrow,
Subhumans,
Quando Quango,
Ohio Players,
Larry & the Blue Notes,
The Dave Clark Five,
Donald Byrd,
Mark Hollis,
It's A Beautiful Day,
Youth Brigade,
Pere Ubu,
Sly & The Family Stone,
Super Lover Cee & Casanova Rud,
Gil Scott-Heron & Brian Jackson,
Dorothy Ashby,
Art Ensemble Of Chicago,
LL Cool J,
Judy Mowatt,
Cluster,
Scott Walker + Sunn O))),
The Dead C,
Amon Düül,
The Fortunes,
Bad Manners,
Glenn Branca,
La Düsseldorf,
Fugazi,
Big Daddy Kane,
Ken Boothe,
Susan Cadogan,
World's Most,
UT,
Anthony Braxton,
Gichy Dan,
Jeru the Damaja,
Niagra,
48th St. Collective,
Stereo Dub,
Sugar Minott,
New Order,
John Cale,
Black Moon,
Rahsaan Roland Kirk,
Quadrant,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.