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 Brunei and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1973.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Man Parrish to the techno kids.
I played it at the Astoria.
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 Harpers Bizarre. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Interpol 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?
Grandmaster Flash and the Furious Five,
Electric Light Orchestra,
Barry Ungar,
Eyeless In Gaza,
Ohio Players,
The Gun Club,
Grauzone,
Lizzy Mercier Descloux,
Neil Young,
Maleditus Sound,
The Mummies,
Animal Collective,
Tropical Tobacco,
Lou Reed & Metallica,
The Men They Couldn't Hang,
Sparks,
The Durutti Column,
Alton Ellis,
The Count Five,
Zero Boys,
Ponytail,
Red Lorry Yellow Lorry,
Peter Gordon & Love of Life Orchestra,
Blake Baxter,
The Litter,
Marshall Jefferson,
Soul Sonic Force,
The Monks,
Glenn Branca,
Mo-Dettes,
Joy Division,
Nils Olav,
Robert Hood,
Country Teasers,
Anakelly,
kango's stein massive,
Khruangbin,
Livin' Joy,
Ultravox,
Bobby Womack,
Tim Buckley,
The Human League,
The Vogues,
Sound Behaviour,
Main Source,
Frankie Knuckles,
Unwound,
Banda Bassotti,
It's A Beautiful Day,
Swell Maps,
Echospace,
Kango’s Stein Massive,
The Sonics,
Bad Manners,
Lower 48,
De La Soul & Jungle Brothers,
Lebanon Hanover,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.