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 Panama and from Tokyo.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school Spokane 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord 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 Sonic Youth to the crunk kids.
I played it at the Troubador.
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 Deakin. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Robert Hood,
the Slits,
Art Ensemble Of Chicago,
The Monochrome Set,
The Last Poets,
The Motions,
The Residents,
Ponytail,
Johnny Osbourne,
Unrelated Segments,
Soulsonic Force,
Shoche,
Banda Bassotti,
Crash Course in Science,
The Vogues,
Fluxion,
The West Coast Pop Art Experimental Band,
John Holt,
Black Flag,
Brass Construction,
David Axelrod,
Stiv Bators,
Gang Gang Dance,
The Cosmic Jokers,
Sister Nancy,
Eden Ahbez,
Fifty Foot Hose,
Rites of Spring,
Pulsallama,
Bill Near,
The Count Five,
Max Romeo,
Vaughan Mason & Crew,
a-ha,
The Raincoats,
New York Dolls,
the Association,
Slick Rick,
Susan Cadogan,
Alphaville,
Flamin' Groovies,
Quadrant,
Dawn Penn,
Jeru the Damaja,
Suicide,
Archie Shepp,
Rahsaan Roland Kirk,
Rotary Connection,
Godley & Creme,
Circle Jerks,
Liaisons Dangereuses,
MDC,
Dave Gahan,
It's A Beautiful Day,
Fort Wilson Riot,
The Remains,
Andrew Ashong & Theo Parrish,
Goldenarms,
Warren Ellis,
Vladislav Delay,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.