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 Algeria and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 La Düsseldorf to the rock 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 Popol Vuh. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Soft Cell 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
The Modern Lovers,
Thompson Twins,
Rotary Connection,
Henry Cow,
The Raincoats,
Suburban Knight,
Brass Construction,
Albert Ayler,
Scratch Acid,
Thee Headcoats,
The Music Machine,
Lou Reed & John Cale,
Joe Finger,
Bauhaus,
Sonic Youth,
Black Pus,
Quantec,
Brothers Johnson,
Basic Channel,
Tubeway Army,
Lower 48,
Sällskapet,
Roy Ayers Ubiquity,
David McCallum,
Cabaret Voltaire,
Avey Tare & Kría Brekkan,
Bizarre Inc.,
Neil Young & Crazy Horse,
Television Personalities,
The Moleskins,
Adolescents,
The Busters,
The Shadows of Knight,
The Durutti Column,
Pharaoh Sanders and the Fire Engines,
The Golliwogs,
Scientists,
Eve St. Jones,
Captain Beefheart & His Magic Band,
Visage,
Fatback Band,
Rhythim Is Rhythim,
DJ Style,
Icehouse,
Carl Craig,
Depeche Mode,
Sexual Harrassment,
Michelle Simonal,
Gerry Rafferty,
Hasil Adkins,
Jacob Miller,
Tommy Roe,
The Cosmic Jokers,
Max Romeo,
Joey Negro,
Royal Trux,
X-101,
Tom Boy,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.