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 Afghanistan and from Beijing.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Accra 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Peter Gordon & Love of Life Orchestra to the jazz 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 Iggy Pop. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
DJ Sneak,
The Durutti Column,
Louis and Bebe Barron,
The Dead C,
Sandy B,
The Five Americans,
Hardrive,
Rosa Yemen,
The Slits,
PIL,
Albert Ayler,
Ornette Coleman,
This Heat,
Black Pus,
Kenny Larkin,
Swans,
The Buckinghams,
Dawn Penn,
Moebius,
The Flesh Eaters,
UT,
Tom Boy,
Monolake,
The Sisters of Mercy,
The Mojo Men,
Boz Scaggs,
Grandmaster Flash,
Inner City,
Orchestral Manoeuvres in the Dark,
Yazoo,
Hot Snakes,
Amon Düül II,
Suicide,
Alison Limerick,
Unrelated Segments,
Crispy Ambulance,
Colin Newman,
Sonic Youth,
The Neon Judgement,
The Pretty Things,
Livin' Joy,
Grandmaster Flash and the Furious Five,
The Human League,
Procol Harum,
The Velvet Underground,
Das Ding,
Archie Shepp,
Isaac Hayes,
Avey Tare & Kría Brekkan,
The Cowsills,
Dr. Dre and Snoop Doggy Dog,
Quando Quango,
Supertramp,
New Order,
Heavy D & The Boyz,
Soulsonic Force,
Deakin,
Sight & Sound,
Donny Hathaway,
Junior Murvin,
Cecil Taylor,
Bill Near, Bill Near, Bill Near, Bill Near.
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.