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 Ghana and from Milan.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
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 synthesizer 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 Rosa Yemen to the dance kids.
I played it at the Crocodile.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Justin Hinds & The Dominoes,
The Last Poets,
Bush Tetras,
Rufus Thomas,
Visage,
Arab on Radar,
Warren Ellis,
Don Cherry,
The Gap Band,
Dennis Brown,
Reagan Youth,
the Human League,
Mr. Review,
Sun Ra Arkestra,
Kayak,
The Slackers,
Talk Talk,
Thee Headcoats,
Boogie Down Productions,
Model 500,
Nico,
ABBA,
Inner City,
The Litter,
The Cowsills,
Joy Division,
Cymande,
Iggy Pop,
Soft Cell,
The Blackbyrds,
the Slits,
Rhythm & Sound,
KRS-One,
Monolake,
Rapeman,
Sällskapet,
10cc,
Ultramagnetic MC's,
Yaz,
Rhythim Is Rhythim,
Pantaleimon,
Oneida,
Adolescents,
The Residents,
Minnie Riperton,
Laurel Aitken,
Yellowson,
Scan 7,
The Grass Roots,
Gong,
Second Layer,
Be Bop Deluxe,
Khruangbin,
Chrome,
The Sisters of Mercy,
Marc Romboy vs. Booka Shade,
The Happenings,
Jacob Miller,
Harmonia,
Lower 48,
Von Mondo,
Glenn Branca,
Marmalade,
Boredoms, Boredoms, Boredoms, Boredoms.
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.