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 Cameroon and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Beijing 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 oboe sounds with much patience.
I was there when David Bowie 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 Divine Comedy to the techno kids.
I played it at the Hacienda.
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 Harry Pussy. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Franke 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 '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
The Gories,
Angels of Light & Akron/Family,
Circle Jerks,
Blancmange,
The Seeds,
The West Coast Pop Art Experimental Band,
New York Dolls,
U.S. Maple,
Ponytail,
Arthur Verocai,
Howard Jones,
Janne Schatter,
Warren Ellis,
Excepter,
Severed Heads,
Silicon Teens,
Rufus Thomas,
Sunsets and Hearts,
Brass Construction,
Loose Ends,
Curtis Mayfield,
Television Personalities,
Swell Maps,
Tomorrow,
Arcadia,
Rhythm & Sound,
Joy Division,
The American Breed,
The Modern Lovers,
The Golliwogs,
Unrelated Segments,
Jesper Dahlback,
Gil Scott-Heron and Jamie xx,
JFA,
Skaos,
The Misunderstood,
Ornette Coleman,
The Music Machine,
The Shadows of Knight,
Gang Green,
Alphaville,
Dennis Brown,
Depeche Mode,
Crispian St. Peters,
Second Layer,
Q and Not U,
Minnie Riperton,
Be Bop Deluxe,
LL Cool J,
Ludus,
Joe Finger,
Metal Thangz,
Shuggie Otis,
China Crisis,
The Peanut Butter Conspiracy,
Pussy Galore,
New Age Steppers,
Cal Tjader,
Reagan Youth,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.