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 Mexico and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Seoul 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 linndrum 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 A Flock of Seagulls to the jazz 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 David Axelrod. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Scott Walker,
Cameo,
Japan,
T.S.O.L.,
The Red Krayola,
Gil Scott-Heron & Brian Jackson,
Mark Hollis,
Ken Boothe,
Tears for Fears,
Monks,
Parry Music,
Avey Tare & Kría Brekkan,
Excepter,
Ludus,
Liaisons Dangereuses,
Wolf Eyes,
Drexciya,
Eric Copeland,
Animal Collective,
Mr. Review,
The Neon Judgement,
Nico,
Junior Murvin,
Amon Düül,
Soulsonic Force,
Mandrill,
Lucky Dragons,
Alton Ellis,
Nick Fraelich,
Oneida,
The Gap Band,
David Axelrod,
Lyres,
Yaz,
Lizzy Mercier Descloux,
Matthew Halsall,
Aswad,
Symarip,
The Golliwogs,
Nirvana,
Robert Görl,
The Techniques,
La Düsseldorf,
Dennis Brown,
Little Man,
The Moody Blues,
Stiv Bators,
Avey Tare,
JFA,
The Cramps,
Nation of Ulysses,
Loose Ends,
Cybotron,
Cabaret Voltaire,
The Durutti Column,
The Mojo Men,
Iggy Pop,
Sex Pistols,
the Sonics,
Zero Boys,
Sun Ra Arkestra,
Amon Düül II,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.