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 Papua New Guinea and from Mumbai.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Chris & Cosey to the grunge 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 Kerri Chandler. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Blancmange 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
The Flesh Eaters,
Mars,
Bootsy's Rubber Band,
the Swans,
Nils Olav,
F. McDonald,
Urselle,
The Sonics,
Excepter,
It's A Beautiful Day,
Zapp,
Ornette Coleman,
Jacques Brel,
the Bar-Kays,
China Crisis,
Audionom,
Eric Dolphy,
World's Most,
Depeche Mode,
The Remains,
Bang On A Can,
Minutemen,
The United States of America,
Charles Mingus,
Eric B and Rakim,
EPMD,
The Move,
The Electric Prunes,
Sällskapet,
The New Christs,
Joe Finger,
Howard Jones,
Graham Central Station,
Cybotron,
The Leaves,
Black Sheep,
Lonnie Liston Smith,
Robert Wyatt,
Groovy Waters,
Beasts of Bourbon,
Mission of Burma,
The Gories,
Joensuu 1685,
The Sound,
Eurythmics,
The Standells,
Arthur Verocai,
Warren Ellis,
Neu!,
Bush Tetras,
Rekid,
Soulsonic Force,
Aswad,
James White and The Blacks,
X-102,
Terry Callier,
Todd Rundgren,
Gary Puckett & The Union Gap,
Tears for Fears,
Cal Tjader,
Aaron Thompson,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.