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 El Salvador and from London.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Winnipeg 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 snare sounds with much patience.
I was there when Michael McDonald 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 Laurel Aitken to the electroclash 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 Jesper Dahlbäck. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Massinfluence 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 '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
JFA,
Fort Wilson Riot,
The Birthday Party,
Public Enemy,
F. McDonald,
Lafayette Afro Rock Band,
Q and Not U,
Charles Mingus,
Kayak,
Can,
Skriet,
Delon & Dalcan,
Qualms,
Altered Images,
Funkadelic,
Subhumans,
Black Pus,
The Fuzztones,
Eve St. Jones,
Saccharine Trust,
The Modern Lovers,
The Trojans,
The Chocolate Watch Band,
Aaron Thompson,
Rahsaan Roland Kirk,
Japan,
The Litter,
Arthur Verocai,
the Slits,
Pere Ubu,
The Cowsills,
The Martian,
The Vogues,
Bush Tetras,
Crispy Ambulance,
The Saints,
Louis and Bebe Barron,
Cabaret Voltaire,
Slave,
Pussy Galore,
The Dead C,
Dr. Dre and Snoop Doggy Dog,
Tubeway Army,
Mission of Burma,
The Velvet Underground,
Anthony Braxton,
Fluxion,
Slick Rick,
The Mummies,
Fela Kuti,
Orchestral Manoeuvres in the Dark,
Interpol,
Swans,
T. Rex,
Goldenarms,
Idris Muhammad,
Fugazi,
Public Image Ltd.,
Alton Ellis,
Scratch Acid,
Sixth Finger,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.