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 Swaziland and from Jakarta.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Camberwell Now to the electroclash kids.
I played it at Trash.
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 Jawbox. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
Schoolly D,
Aloha Tigers,
Monks,
The Gun Club,
Röyhkä ja Rättö ja Lehtisalo,
Mandrill,
Joensuu 1685,
Lee Hazlewood,
DeepChord presents Echospace,
Anthony Braxton,
Harpers Bizarre,
Kevin Saunderson,
Sad Lovers and Giants,
Amon Düül,
Amon Düül II,
LL Cool J,
Amazonics,
The Monochrome Set,
Jacques Brel,
Masters at Work,
the Swans,
Popol Vuh,
Robert Görl,
Marc Romboy vs. Booka Shade,
Roy Ayers Ubiquity,
Shoche,
Kas Product,
New Age Steppers,
Von Mondo,
Matthew Halsall,
The Moody Blues,
The Divine Comedy,
T. Rex,
Brand Nubian,
Joe Finger,
Electric Prunes,
Peter & Gordon,
AZ,
Eve St. Jones,
Rites of Spring,
Radiopuhelimet,
Tubeway Army,
Aaron Thompson,
The Martian,
Jerry Gold Smith,
The Standells,
Siglo XX,
Susan Cadogan,
Ultramagnetic MC's,
The Victims,
Deakin,
T.S.O.L.,
Flash Fearless,
Ralphi Rosario,
This Heat,
Colin Newman,
Pulsallama,
Con Funk Shun,
Sex Pistols,
Cluster,
Pole,
Be Bop Deluxe,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.