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 Kenya and from Houston.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Halifax 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 1976 at the first Chic practice in a loft in New York.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 La Düsseldorf to the dance 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 Deadbeat. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Cymande 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Visage,
Reuben Wilson,
MC5,
Cluster,
The Fuzztones,
Scott Walker + Sunn O))),
Man Eating Sloth,
The Misunderstood,
Funky Four + One,
Stockholm Monsters,
Visionaries,LMNO, T- Love & Iriscience,
Girls At Our Best!,
Alice Coltrane,
Yellowson,
Animal Collective,
The Remains,
Whodini,
Country Joe & The Fish,
Country Teasers,
Skaos,
Swans,
Tim Buckley,
Cecil Taylor,
Liliput,
Suicide,
The Star Department,
The Slits,
The Raincoats,
Nico,
Glambeats Corp.,
The Count Five,
Excepter,
Bizarre Inc.,
Fluxion,
The Dirtbombs,
Terry Callier,
Pussy Galore,
Lightning Bolt,
Johnny Clarke,
Fad Gadget,
Gichy Dan,
Minnie Riperton,
Tres Demented,
Yaz,
Sonic Youth,
Radiopuhelimet,
Andrew Hill,
Nik Kershaw,
Arab on Radar,
The Black Dice,
Bill Wells,
Radiohead,
Bad Manners,
These Immortal Souls,
Mo-Dettes,
Saccharine Trust,
The Monochrome Set,
Gastr Del Sol,
Ice-T,
The Names, The Names, The Names, The Names.
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.