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 Bahamas and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school New York 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 guitar 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 Strawberry Alarm Clock to the jazz kids.
I played it at the Crocodile.
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 Wire. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Orchestral Manoeuvres in the Dark,
Kerrie Biddell,
Chrome,
Grey Daturas,
Electric Light Orchestra,
X-102,
The Mummies,
Urselle,
The Fire Engines,
Mary Jane Girls,
Vladislav Delay,
Dr. Dre and Snoop Doggy Dog,
Panda Bear,
Sun Ra,
Todd Terry,
Barry Ungar,
The Chocolate Watch Band,
The Tremeloes,
Boz Scaggs,
Rod Modell,
Reuben Wilson,
Marc Almond,
Lou Christie,
Bob Dylan,
Gary Puckett & The Union Gap,
UT,
Grauzone,
The Walker Brothers,
Das Ding,
Sly & The Family Stone,
Skaos,
The Divine Comedy,
Brand Nubian,
Subhumans,
Darondo,
Kango’s Stein Massive,
Public Image Ltd.,
The Last Poets,
KRS-One,
The Happenings,
Stiv Bators,
Anthony Braxton,
Soulsonic Force,
Arcadia,
Connie Case,
The Offenders,
DeepChord presents Echospace,
Sunsets and Hearts,
Frankie Knuckles,
Andrew Hill,
Justin Hinds & The Dominoes,
Warsaw,
Lebanon Hanover,
U.S. Maple,
Deakin,
JFA,
Babytalk,
Cluster,
Bootsy's Rubber Band,
The Dead C,
DNA,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.