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 Sri Lanka and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school Paris 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 chamberlin 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 The Dead C to the electroclash kids.
I played it at the Hacienda.
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 Grandmaster Flash. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal crunk 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 a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Minnie Riperton,
Vladislav Delay,
The Durutti Column,
Joe Finger,
Gary Puckett & The Union Gap,
H. Thieme,
Underground Resistance,
The Saints,
B.T. Express,
Oblivians,
Public Image Ltd.,
The Invisible,
Magma,
Crime,
Röyhkä ja Rättö ja Lehtisalo,
A Flock of Seagulls,
Aswad,
Main Source,
Derrick Morgan,
the Soft Cell,
Slave,
EPMD,
Robert Görl,
The Flesh Eaters,
Jimmy McGriff,
Jandek,
In Retrospect,
Clear Light,
Cameo,
The Techniques,
Sex Pistols,
New York Dolls,
Manfred Mann's Earth Band,
Zero Boys,
Cabaret Voltaire,
Junior Murvin,
Grauzone,
The Martian,
Bobby Sherman,
CMW,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Remains,
Man Parrish,
Tears for Fears,
Gang of Four,
Moby Grape,
The United States of America,
Siouxsie and the Banshees,
Pere Ubu,
Kauko Röyhkä ja Narttu,
the Slits,
48th St. Collective,
Cal Tjader,
Harry Pussy,
Ronnie Foster,
Black Sheep,
Charles Mingus,
Half Japanese,
Ash Ra Tempel,
Michelle Simonal,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.