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 Fiji and from Salvador.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Seoul and Salvador.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Can practice in a loft in Cologne.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 DeepChord presents Echospace to the jazz kids.
I played it at Trash.
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 Talk Talk. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Connie Case,
Man Parrish,
Public Enemy,
Yaz,
Stereo Dub,
Gregory Isaacs,
Mad Mike,
The Doobie Brothers,
The Residents,
X-101,
Unrelated Segments,
Model 500,
Gabor Szabo,
Nick Fraelich,
Pantaleimon,
Marcia Griffiths,
The Dave Clark Five,
Minnie Riperton,
The Velvet Underground,
Schoolly D,
De La Soul & Jungle Brothers,
The Sisters of Mercy,
Massinfluence,
The Sound,
Minny Pops,
Barry Ungar,
Lonnie Liston Smith,
Sam Rivers,
Roxette,
Suburban Knight,
Scratch Acid,
Grauzone,
Pete Rock & C.L. Smooth,
Blancmange,
The Invisible,
James Chance & The Contortions,
Orchestral Manoeuvres in the Dark,
Alphaville,
Avey Tare,
Ultravox,
AZ,
The Blues Magoos,
Arcadia,
Oblivians,
The Misunderstood,
E-Dancer,
Duran Duran,
Agitation Free,
Funky Four + One,
Kurtis Blow,
Brand Nubian,
Lyres,
Pussy Galore,
Bronski Beat,
UT,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.