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 Luxembourg and from Stockholm.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Basic Channel to the grime 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 Wally Richardson. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Tubeway Army,
Vladislav Delay,
Glambeats Corp.,
Deakin,
Danielle Patucci,
Negative Approach,
Sonny Sharrock,
The Invisible,
John Cale,
Rhythim Is Rhythim,
The United States of America,
Kerrie Biddell,
Urselle,
Sun Ra,
Tropical Tobacco,
Don Cherry,
The Monochrome Set,
Tres Demented,
Con Funk Shun,
Agitation Free,
Sun City Girls,
Pet Shop Boys,
Von Mondo,
Rekid,
Underground Resistance,
Magazine,
The Kinks,
The Fortunes,
X-102,
A Certain Ratio,
The New Christs,
The Count Five,
Chris & Cosey,
Bad Manners,
Drexciya,
Barrington Levy,
John Coltrane,
Jeff Mills,
Beasts of Bourbon,
Freddie Wadling,
Lightning Bolt,
Dead Boys,
Dawn Penn,
Audionom,
Boz Scaggs,
Fifty Foot Hose,
the Bar-Kays,
Zero Boys,
Depeche Mode,
Black Moon,
Banda Bassotti,
T. Rex,
L. Decosne,
Nik Kershaw,
Iggy Pop,
Crispian St. Peters,
Eric B and Rakim,
Shuggie Otis,
U.S. Maple,
Bobby Byrd,
Soul Sonic Force,
John Lydon,
Shoche, Shoche, Shoche, Shoche.
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.