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 Georgia and from Edmonton.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Taipei 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Charles Mingus to the funk 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 Arab on Radar. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Traffic Nightmare 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Kaleidoscope,
The Dirtbombs,
Nik Kershaw,
Crooked Eye,
Aural Exciters,
Drexciya,
China Crisis,
Sarah Menescal,
the Fania All-Stars,
Sexual Harrassment,
Fatback Band,
Black Bananas,
Bush Tetras,
Silicon Teens,
Freddie Wadling,
David Bowie,
The Golliwogs,
Andrew Hill,
Eyeless In Gaza,
Loose Ends,
Massinfluence,
Adolescents,
Interpol,
Zero Boys,
Roger Hodgson,
Moebius,
Röyhkä ja Rättö ja Lehtisalo,
One Last Wish,
Rapeman,
Marcia Griffiths,
Lucky Dragons,
The Slits,
Super Lover Cee & Casanova Rud,
Grauzone,
Mary Jane Girls,
Orchestral Manoeuvres in the Dark,
Blake Baxter,
The Cosmic Jokers,
The Cure,
Brass Construction,
Country Teasers,
Ultramagnetic MC's,
Circle Jerks,
Soft Machine,
The Tremeloes,
Y Pants,
The Blackbyrds,
Lee Hazlewood,
In Retrospect,
Eddi Front,
The American Breed,
Soul II Soul,
The United States of America,
The Fire Engines,
Shoche,
Stetsasonic,
The Sound,
Sparks,
Marc Romboy vs. Booka Shade,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.