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 Nicaragua and from Lille.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lille and Hong Kong.
I'm losing my edge to the art-school Bologna 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 guitar 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 Dave Gahan to the electroclash kids.
I played it at the Hacienda.
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 Kerrie Biddell. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Index record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Gil Scott-Heron & Brian Jackson,
48th St. Collective,
Jimmy McGriff,
The Angels of Light,
Icehouse,
Mad Mike,
The Pretty Things,
Crispy Ambulance,
The Music Machine,
Rhythm & Sound,
The United States of America,
Art Ensemble Of Chicago,
The Trojans,
Carl Craig,
Josef K,
Gang Green,
The Slits,
Vladislav Delay,
Average White Band,
Suicide,
Eurythmics,
The Leaves,
Oppenheimer Analysis,
The Doors,
Michelle Simonal,
Notorious BIG live in Amsterdam,
Banda Bassotti,
Bobbi Humphrey,
James White and The Blacks,
Eli Mardock,
Stiv Bators,
Blancmange,
Hoover,
It's A Beautiful Day,
Mo-Dettes,
Sex Pistols,
Gerry Rafferty,
Stereo Dub,
London Community Gospel Choir,
Lou Reed & Metallica,
Moss Icon,
Thee Headcoats,
Nation of Ulysses,
Gary Puckett & The Union Gap,
Harpers Bizarre,
Black Sheep,
Boogie Down Productions,
Jacob Miller,
John Holt,
Wighnomy Brothers & Robag Wruhme,
Brass Construction,
Ultimate Spinach,
Hasil Adkins,
Kings Of Tomorrow,
John Cale,
Echo & the Bunnymen,
Altered Images,
Masters at Work,
Graham Central Station,
The Move,
Camberwell Now,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.