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 Moldova and from Portland.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Milan and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Cameo to the electroclash kids.
I played it at the Roxy.
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 Man Eating Sloth. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Chris Corsano,
Maurizio,
Arcadia,
Charles Mingus,
Bizarre Inc.,
Lindisfarne,
Lou Reed,
Circle Jerks,
Wally Richardson,
Loose Ends,
The Chocolate Watch Band,
Index,
The Sound,
Harmonia,
Josef K,
Spandau Ballet,
Connie Case,
Terry Callier,
Porter Ricks,
FM Einheit,
Das Ding,
Mars,
Rakim,
Tears for Fears,
The Birthday Party,
Can,
Liaisons Dangereuses,
Freddie Wadling,
the Swans,
In Retrospect,
Young Marble Giants,
X-101,
Boredoms,
Japan,
Curtis Mayfield,
Cluster,
Mad Mike,
Roger Hodgson,
Trumans Water,
PIL,
Blake Baxter,
Brick,
10cc,
Electric Light Orchestra,
the Normal,
Rosa Yemen,
Ponytail,
Technova,
Q65,
Lakeside,
Black Flag,
Eric Copeland,
Babytalk,
James White and The Blacks,
Brand Nubian,
DJ Sneak,
The Names,
David McCallum,
the Fania All-Stars,
Wire,
The Detroit Cobras,
The Zeros,
Roxy Music,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.