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 Marshall Islands and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
I'm losing my edge to the art-school Mexico City 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 Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Nick Cave & The Bad Seeds to the funk kids.
I played it at the Spitz.
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 the Swans. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Stiv Bators 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 '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Bill Wells,
Piero Umiliani,
Masters at Work,
The Techniques,
Pierre Henry,
the Swans,
Maleditus Sound,
London Community Gospel Choir,
The Monochrome Set,
Alison Limerick,
Aural Exciters,
Amon Düül,
Gichy Dan,
Camron Feat. Jay Z And Juelz,
Andrew Hill,
Orchestral Manoeuvres in the Dark,
The Toasters,
the Human League,
Pussy Galore,
John Coltrane,
Wings,
Nas,
Make Up,
Negative Approach,
The Cosmic Jokers,
Brand Nubian,
Donny Hathaway,
The Sonics,
the Association,
The Cowsills,
a-ha,
Whodini,
Robert Görl,
Public Image Ltd.,
Blake Baxter,
Gang Gang Dance,
Kayak,
L. Decosne,
Duran Duran,
Danielle Patucci,
The Remains,
Severed Heads,
The Red Krayola,
Todd Terry,
Mark Hollis,
Bang on a Can All-Stars,
The Dave Clark Five,
Swans,
Q and Not U,
Fifty Foot Hose,
Chrome,
10cc,
Eden Ahbez,
Lou Reed,
The Skatalites,
Blancmange,
Throbbing Gristle,
The Slits,
Adolescents,
Magma,
Larry & the Blue Notes,
Deutsch Amerikanische Freundschaft,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.