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 Tanzania 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 1964 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Philadelphia 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin 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 Johnny Osbourne to the techno 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 Bob Dylan. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Faust 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 '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts 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?
Dawn Penn,
Accadde A,
Rhythim Is Rhythim,
Derrick May,
Maurizio,
Scan 7,
Amazonics,
Gil Scott Heron,
Eddi Front,
X-101,
Warsaw,
Eve St. Jones,
Ajijia Myrayebe,
Magma,
World's Most,
Excepter,
Popol Vuh,
David McCallum,
Grandmaster Flash,
The Smiths,
Donny Hathaway,
The Move,
The Fall,
Gong,
Kaleidoscope,
Davy DMX,
Lucky Dragons,
Wighnomy Brothers & Robag Wruhme,
Deakin,
Bobby Hutcherson,
KRS-One,
Negative Approach,
Tropical Tobacco,
Fluxion,
Maleditus Sound,
The Modern Lovers,
The Kinks,
The Motions,
Alton Ellis,
Yellowson,
Sixth Finger,
Public Image Ltd.,
Alice Coltrane,
John Cale,
Vaughan Mason & Crew,
The Gladiators,
Peter and Kerry,
Pylon,
The Litter,
PIL,
Slave,
Moss Icon,
Mantronix,
Pulsallama,
The Mummies,
Ten City,
Joey Negro,
Ohio Players,
Livin' Joy,
James White and The Blacks,
Sparks,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.