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 United States and from Mexico City.
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 1977.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school Milan 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 808 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 The Standells to the disco kids.
I played it at the 40 Watt.
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 Vainqueur. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Scott Walker + Sunn O))),
The Saints,
Bang On A Can,
Lou Reed & Metallica,
Surgeon,
Orchestral Manoeuvres in the Dark,
Robert Wyatt,
X-Ray Spex,
Interpol,
Quantec,
Crispian St. Peters,
Marine Girls,
Aswad,
Black Moon,
Patti Smith,
Captain Beefheart & His Magic Band,
The Move,
Livin' Joy,
Marvin Gaye,
Lou Reed,
FM Einheit,
Alison Limerick,
Derrick May,
Black Bananas,
Black Flag,
Sight & Sound,
ABC,
Liaisons Dangereuses,
Outsiders,
Model 500,
Infiniti,
Jesper Dahlbäck,
Kerrie Biddell,
Sonic Youth,
Donald Byrd,
The Sound,
Reagan Youth,
Main Source,
The Mummies,
Adolescents,
A Flock of Seagulls,
The Real Kids,
Masters at Work,
the Slits,
The Beau Brummels,
The Walker Brothers,
Lakeside,
X-102,
Angels of Light & Akron/Family,
Mars,
Danielle Patucci,
Derrick Morgan,
Röyhkä ja Rättö ja Lehtisalo,
Pet Shop Boys,
Clear Light,
The Divine Comedy,
New Order,
Graham Central Station,
Lafayette Afro Rock Band,
Big Daddy Kane,
Unwound,
Fort Wilson Riot,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.