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 Mali and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1974.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Madrid 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Michelle Simonal to the punk kids.
I played it at Trash.
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 Angry Samoans. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
Tom Boy,
Barbara Tucker,
the Soft Cell,
LL Cool J,
Crispy Ambulance,
Visage,
The Durutti Column,
The Associates,
The Litter,
Gil Scott Heron,
Chris & Cosey,
Kevin Saunderson,
Lou Christie,
Thee Headcoats,
Monks,
Kaleidoscope,
Vaughan Mason & Crew,
Camouflage,
Altered Images,
Siglo XX,
Sight & Sound,
London Community Gospel Choir,
Frankie Knuckles,
Ituana,
Gil Scott-Heron and Jamie xx,
Newcleus,
Clear Light,
Lalo Schifrin,
Joe Smooth,
The Black Dice,
UT,
Davy DMX,
Black Pus,
Rufus Thomas,
Blossom Toes,
Mad Mike,
The Blues Magoos,
Robert Wyatt,
Crime,
Livin' Joy,
Byron Stingily,
Rhythm & Sound,
the Sonics,
Jerry's Kids,
Dave Gahan,
John Lydon,
Echo & the Bunnymen,
B.T. Express,
Pulsallama,
Ludus,
The Moleskins,
Andrew Ashong & Theo Parrish,
Sonny Sharrock,
Pylon,
Andrew Hill,
Bush Tetras,
Soulsonic Force,
Cymande,
X-101,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.