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 United States and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Manchester and Madrid.
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 808 sounds with much patience.
I was there when Holger Czukay 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 The West Coast Pop Art Experimental Band to the jazz kids.
I played it at the 40 Watt.
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 Wings. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Animal Collective,
Heaven 17,
Howard Jones,
Radiohead,
Joey Negro,
The Monks,
Public Image Ltd.,
Buzzcocks,
Bob Dylan,
The Residents,
Mars,
Skriet,
Nils Olav,
the Bar-Kays,
Youth Brigade,
Gian Franco Pienzio,
X-Ray Spex,
Teenage Jesus and the Jerks,
The Mummies,
Basic Channel,
Slick Rick,
Siglo XX,
Negative Approach,
Lungfish,
Guru Guru,
Whodini,
One Last Wish,
UT,
The Standells,
Neu!,
Radiopuhelimet,
Warren Ellis,
H. Thieme,
Sam Rivers,
Siouxsie and the Banshees,
The J.B.'s,
Fela Kuti,
ABC,
A Certain Ratio,
L. Decosne,
Lou Reed & Metallica,
Hot Snakes,
The Motions,
Eyeless In Gaza,
Neil Young & Crazy Horse,
Bronski Beat,
Pantaleimon,
Avey Tare's Slasher Flicks,
Mad Mike,
The Cowsills,
Isaac Hayes,
Radio Birdman,
Leonard Cohen,
Sun Ra Arkestra,
The Human League,
Newcleus,
Banda Bassotti,
Mark Hollis,
Trumans Water,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.