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 Spain and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Manchester 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 Wire practice in a loft in Watford.
I was working on the harpsichord 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 Ajijia Myrayebe to the grunge kids.
I played it at the Troubador.
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 Gang Gang Dance. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Nas 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
James Chance & The Contortions,
Nirvana,
Bauhaus,
10cc,
Larry & the Blue Notes,
The Velvet Underground,
Yaz,
Nick Fraelich,
Oppenheimer Analysis,
Supertramp,
Amazonics,
Niagra,
Tommy Roe,
The Smiths,
The Music Machine,
Barclay James Harvest,
The Detroit Cobras,
James White and The Blacks,
Delon & Dalcan,
Maleditus Sound,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jeff Lynne,
Vainqueur,
Swans,
Teenage Jesus and the Jerks,
Vaughan Mason & Crew,
Tropical Tobacco,
Kaleidoscope,
Funkadelic,
Echospace,
Soul Sonic Force,
Echo & the Bunnymen,
Ronnie Foster,
Slick Rick,
Cybotron,
Roxy Music,
MDC,
Technova,
These Immortal Souls,
Pussy Galore,
Jeru the Damaja,
Nik Kershaw,
Cameo,
Unrelated Segments,
Pharaoh Sanders and the Fire Engines,
Lafayette Afro Rock Band,
Louis and Bebe Barron,
the Germs,
Dorothy Ashby,
Roy Ayers,
Drexciya,
Harry Pussy,
Lizzy Mercier Descloux,
Michelle Simonal,
Marine Girls,
Duran Duran,
The Standells,
The Techniques,
Erasure,
Deepchord,
Dark Day,
Pulsallama,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.