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 New Zealand and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1975.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Lagos 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 New Order 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 Lakeside. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Connie Case,
Oppenheimer Analysis,
Pylon,
Amon Düül II,
Unrelated Segments,
Lindisfarne,
Ponytail,
Soul Sonic Force,
Fat Boys,
Captain Beefheart & His Magic Band,
Eric Copeland,
Red Lorry Yellow Lorry,
The Offenders,
Ornette Coleman,
Public Image Ltd.,
The Sisters of Mercy,
Kango’s Stein Massive,
MC5,
Nick Fraelich,
JFA,
Dead Boys,
The Human League,
DeepChord presents Echospace,
The Slits,
Pierre Henry,
The Dead C,
Mark Hollis,
Hoover,
Massinfluence,
Parry Music,
The Durutti Column,
Gang Green,
Andrew Ashong & Theo Parrish,
Mary Jane Girls,
Morten Harket,
The Leaves,
Porter Ricks,
Desert Stars,
Harmonia,
Rakim,
Joey Negro,
Rotary Connection,
Grandmaster Flash and the Furious Five,
Curtis Mayfield,
Talk Talk,
Jawbox,
John Coltrane,
Sister Nancy,
Black Bananas,
Audionom,
James White and The Blacks,
The Count Five,
Jeff Lynne,
Jandek,
Half Japanese,
Stiv Bators,
Byron Stingily,
Boredoms,
Lou Christie,
The Last Poets,
Skarface,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.