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 Colombia and from Woodstock.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Seoul 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 Josef K practice in a loft in Edinburgh.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Stockholm Monsters to the punk kids.
I played it at CBGB's.
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 Eric B and Rakim. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Lou Christie 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
The Moody Blues,
Arab on Radar,
Marshall Jefferson,
Beasts of Bourbon,
Cybotron,
The Zeros,
Neu!,
Sister Nancy,
Siglo XX,
Blake Baxter,
8 Eyed Spy,
The Star Department,
Charles Mingus,
Q and Not U,
The Monochrome Set,
Deutsch Amerikanische Freundschaft,
Amon Düül II,
Ponytail,
Bootsy Collins,
The Golliwogs,
Soft Cell,
A Flock of Seagulls,
Terrestrial Tones,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeru the Damaja,
Sad Lovers and Giants,
David Axelrod,
Bobby Byrd,
Black Flag,
Scott Walker,
The Electric Prunes,
Art Ensemble Of Chicago,
Louis and Bebe Barron,
Kevin Saunderson,
Hoover,
John Holt,
The Chocolate Watch Band,
Ash Ra Tempel,
Man Eating Sloth,
Quadrant,
CMW,
Albert Ayler,
Essential Logic,
Drexciya,
Groovy Waters,
Mad Mike,
Interpol,
Derrick Morgan,
Glambeats Corp.,
Pantytec,
Sight & Sound,
FM Einheit,
T.S.O.L.,
Ten City,
Cameo,
Theoretical Girls,
Soft Machine,
The Divine Comedy,
Black Bananas,
Altered Images,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.