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 Nicaragua and from Taipei.
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 1962 to 1972.
I'm losing my edge.
To all the kids in London and Bologna.
I'm losing my edge to the art-school Edmonton 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Jandek to the jazz kids.
I played it at Cafe Wha.
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 Cure. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Eric B and Rakim,
Sarah Menescal,
David McCallum,
Judy Mowatt,
Faust,
One Last Wish,
Masters at Work,
Television,
The Flesh Eaters,
The Electric Prunes,
Mandrill,
Heavy D & The Boyz,
CMW,
Fad Gadget,
The Mummies,
Ultimate Spinach,
Avey Tare,
Todd Rundgren,
Connie Case,
Wire,
Basic Channel,
L. Decosne,
Q and Not U,
The Monks,
Teenage Jesus and the Jerks,
Letta Mbulu,
Nas,
Soul II Soul,
The Misunderstood,
Oblivians,
Black Pus,
Stetsasonic,
Cabaret Voltaire,
Tears for Fears,
Model 500,
Dr. Dre and Snoop Doggy Dog,
The Dead C,
Crispy Ambulance,
Art Ensemble Of Chicago,
Royal Trux,
Kerrie Biddell,
The Litter,
Black Sheep,
Jeru the Damaja,
Beasts of Bourbon,
Peter & Gordon,
The Grass Roots,
The Tremeloes,
KRS-One,
Crooked Eye,
Hoover,
Minor Threat,
Panda Bear,
The Real Kids,
Gong,
Angels of Light & Akron/Family,
Louis and Bebe Barron,
Animal Collective,
Jeff Mills,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.