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 Malaysia 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 1965 to 1976.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Hong Kong 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 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 Junior Murvin to the funk kids.
I played it at the Troubador.
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 Be Bop Deluxe. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Albert Ayler,
Heaven 17,
John Lydon,
Ajijia Myrayebe,
Gregory Isaacs,
Eyeless In Gaza,
Boogie Down Productions,
UT,
Stereo Dub,
the Human League,
Agitation Free,
Peter and Kerry,
Kango’s Stein Massive,
Desert Stars,
Monolake,
Kurtis Blow,
Marmalade,
The Leaves,
Animal Collective,
Donald Byrd,
Avey Tare,
Crooked Eye,
Thinking Fellers Union Local 282,
Soft Machine,
Rites of Spring,
Reagan Youth,
Bobby Womack,
Dennis Brown,
Jeff Mills,
The Fire Engines,
Carl Craig,
The Gladiators,
The Mojo Men,
Dual Sessions,
Wolf Eyes,
Amon Düül II,
Mandrill,
Eddi Front,
A Flock of Seagulls,
Groovy Waters,
Nirvana,
the Sonics,
Crash Course in Science,
Nik Kershaw,
Liliput,
Bobbi Humphrey,
The Beau Brummels,
a-ha,
Rhythm & Sound,
Black Pus,
Goldenarms,
Slave,
Ten City,
The Music Machine,
Talk Talk,
The Black Dice,
Johnny Clarke,
Max Romeo,
Larry & the Blue Notes,
Morten Harket,
The J.B.'s,
Hashim,
Pharoah Sanders,
Echospace, Echospace, Echospace, Echospace.
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.