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 Angola and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
I'm losing my edge to the art-school Lille 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Josef K to the jazz kids.
I played it at the Roxy.
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 Chris Corsano. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Laurel Aitken,
Moss Icon,
Bill Near,
Rotary Connection,
Pussy Galore,
Joensuu 1685,
Stereo Dub,
Ossler,
Sonic Youth,
Echospace,
Neu!,
Soul Sonic Force,
cv313,
Hot Snakes,
Mr. Review,
Monks,
Adolescents,
Hasil Adkins,
Zero Boys,
the Germs,
Negative Approach,
Depeche Mode,
MC5,
Nick Cave & The Bad Seeds,
Dorothy Ashby,
Archie Shepp,
Sight & Sound,
Agent Orange,
Barclay James Harvest,
Banda Bassotti,
Richard Hell and the Voidoids,
Hardrive,
Pole,
Yaz,
H. Thieme,
The West Coast Pop Art Experimental Band,
Anakelly,
Cecil Taylor,
Ultravox,
John Coltrane,
Maurizio,
Rhythm & Sound,
The Slits,
John Holt,
Marmalade,
Youth Brigade,
The Beau Brummels,
Television Personalities,
Tom Boy,
Robert Görl,
Matthew Halsall,
Alison Limerick,
Chris & Cosey,
Nils Olav,
Skarface,
Jesper Dahlback,
Charles Mingus,
Hashim,
The Busters,
Silicon Teens,
Kings Of Tomorrow,
Oppenheimer Analysis,
AZ, AZ, AZ, AZ.
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.