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 Costa Rica and from Toronto.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Manila 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Hashim to the grime 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 Interpol. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Con Funk Shun,
the Slits,
Tropical Tobacco,
The Offenders,
ABC,
Flash Fearless,
Flipper,
New York Dolls,
Larry & the Blue Notes,
Duran Duran,
A Flock of Seagulls,
John Lydon,
Hoover,
Tres Demented,
Alison Limerick,
Boredoms,
Quantec,
Ultramagnetic MC's,
John Holt,
Andrew Hill,
Arcadia,
Swell Maps,
Girls At Our Best!,
Matthew Bourne,
David McCallum,
Chrome,
Accadde A,
Vainqueur,
Beasts of Bourbon,
The Sound,
The Red Krayola,
Clear Light,
Loose Ends,
Swans,
Rhythm & Sound,
Little Man,
The Detroit Cobras,
Deakin,
Wally Richardson,
Slick Rick,
The Knickerbockers,
Yusef Lateef,
Piero Umiliani,
The Associates,
Lou Reed & John Cale,
Groovy Waters,
Chris & Cosey,
Pete Rock & C.L. Smooth,
The Electric Prunes,
Andrew Ashong & Theo Parrish,
Deutsch Amerikanische Freundschaft,
Strawberry Alarm Clock,
Bobby Byrd,
T.S.O.L.,
Crispian St. Peters,
Hasil Adkins,
The Sonics,
The Happenings,
Scott Walker,
Rites of Spring,
Red Lorry Yellow Lorry,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.