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 Tanzania and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 The Motions to the techno kids.
I played it at Cafe Wha.
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 The New Christs. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
The Barracudas,
The Gladiators,
Liaisons Dangereuses,
Sound Behaviour,
One Last Wish,
Althea and Donna,
Richard Hell and the Voidoids,
Mo-Dettes,
Aswad,
Hasil Adkins,
F. McDonald,
Wire,
Model 500,
Ronan,
a-ha,
The United States of America,
Q and Not U,
Henry Cow,
Oppenheimer Analysis,
Tres Demented,
Kevin Saunderson,
Avey Tare & Kría Brekkan,
DJ Sneak,
Tomorrow,
OOIOO,
Bang on a Can All-Stars,
Warsaw,
Fela Kuti,
the Soft Cell,
The Durutti Column,
Rod Modell,
The Gap Band,
Peter & Gordon,
Deutsch Amerikanische Freundschaft,
Freddie Wadling,
June of 44,
Godley & Creme,
Lou Reed & Metallica,
Neu!,
The Toasters,
Hashim,
Cymande,
Minor Threat,
Pharaoh Sanders and the Fire Engines,
Bluetip,
Mr. Review,
Roy Ayers Ubiquity,
Mission of Burma,
Magma,
DJ Style,
Mars,
Traffic Nightmare,
The Smoke,
Peter and Kerry,
Blancmange,
ABBA,
Pantytec,
Jeru the Damaja,
Pere Ubu,
X-Ray Spex,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.