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 Spain and from Bremen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Salvador 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 sitar 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 John Holt to the grunge 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 Pantytec. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
The Chocolate Watch Band,
Funky Four + One,
Dark Day,
Mr. Review,
New York Dolls,
Wighnomy Brothers & Robag Wruhme,
Interpol,
Maurizio,
Young Marble Giants,
Depeche Mode,
Scratch Acid,
The Birthday Party,
Bizarre Inc.,
Ash Ra Tempel,
Bad Manners,
Thinking Fellers Union Local 282,
Kurtis Blow,
Marshall Jefferson,
Blossom Toes,
Goldenarms,
Pharaoh Sanders and the Fire Engines,
The Toasters,
The Slackers,
Susan Cadogan,
Silicon Teens,
Agitation Free,
Marcia Griffiths,
Angels of Light & Akron/Family,
Pet Shop Boys,
K-Klass,
Jacques Brel,
Fear,
Suburban Knight,
EPMD,
The Leaves,
Niagra,
Crime,
Oneida,
X-102,
Spandau Ballet,
Moss Icon,
Adolescents,
Scott Walker,
Urselle,
Lakeside,
Agent Orange,
Pharoah Sanders,
Darondo,
Dual Sessions,
Drive Like Jehu,
Robert Wyatt,
Colin Newman,
Absolute Body Control,
Big Daddy Kane,
Fort Wilson Riot,
Sunsets and Hearts,
The Fall,
Swans,
Bobby Sherman,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.