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 Sierra Leone and from Madrid.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Nils Olav to the funk 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 Gastr Del Sol. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Big Daddy Kane,
The Zeros,
Wasted Youth,
Ohio Players,
PIL,
Dead Boys,
Pole,
Magma,
L. Decosne,
Vladislav Delay,
Robert Hood,
Yaz,
Alice Coltrane,
Negative Approach,
Joy Division,
Junior Murvin,
the Sonics,
Bush Tetras,
Lower 48,
Skarface,
Eric Copeland,
The Human League,
Lee Hazlewood,
Barbara Tucker,
Public Image Ltd.,
Man Parrish,
Erasure,
Model 500,
Lakeside,
Chris & Cosey,
Red Lorry Yellow Lorry,
Robert Wyatt,
B.T. Express,
Easy Going,
Notorious BIG live in Amsterdam,
Half Japanese,
X-102,
Sun Ra,
Kerri Chandler,
Country Joe & The Fish,
Zapp,
K-Klass,
Essential Logic,
Amazonics,
F. McDonald,
Pete Rock & C.L. Smooth,
Rahsaan Roland Kirk,
The Invisible,
Sugar Minott,
Bobby Hutcherson,
Nico,
Jawbox,
Excepter,
Erykah Badu,
Faraquet,
The New Christs,
Motorama,
James Chance & The Contortions,
Siglo XX,
The Velvet Underground,
The Victims,
World's Most,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.