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 Malawi and from Paris.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Toronto 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Goldenarms to the punk kids.
I played it at the Crocodile.
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 Unrelated Segments. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Bobbi Humphrey,
Wolf Eyes,
Moebius,
Buzzcocks,
Sällskapet,
Lou Reed & John Cale,
Sugar Minott,
Suicide,
The Leaves,
The Zeros,
Public Image Ltd.,
Eve St. Jones,
David McCallum,
Swans,
the Slits,
Blancmange,
The Standells,
The Blues Magoos,
Robert Görl,
The Shadows of Knight,
Funkadelic,
Symarip,
Chris & Cosey,
Barry Ungar,
The J.B.'s,
Visage,
K-Klass,
Amon Düül,
Alton Ellis,
Arcadia,
Donny Hathaway,
Rekid,
The Slackers,
The Litter,
Newcleus,
Camron Feat. Memphis Bleek And Beenie Seigel,
Royal Trux,
Agent Orange,
Jeff Mills,
Sound Behaviour,
Adolescents,
Cabaret Voltaire,
Icehouse,
Bill Wells,
The Seeds,
Surgeon,
Lou Christie,
Rotary Connection,
Fad Gadget,
Soulsonic Force,
Mr. Review,
Bootsy's Rubber Band,
Amon Düül II,
Yazoo,
Todd Terry,
Aloha Tigers,
Chrome,
Kerri Chandler,
Parry Music,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.