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 Malaysia and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Lagos and Spokane.
I'm losing my edge to the art-school Winnipeg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Camberwell Now to the grunge kids.
I played it at Cafe Wha.
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 Mars. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin 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 spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
The Alarm Clocks,
Louis and Bebe Barron,
The Sound,
The Offenders,
Gil Scott Heron,
Tim Buckley,
Masters at Work,
Peter & Gordon,
Crash Course in Science,
Public Enemy,
Cybotron,
Vaughan Mason & Crew,
Oblivians,
Marcia Griffiths,
Absolute Body Control,
The Fugs,
The Litter,
The Toasters,
Lou Reed & John Cale,
Soft Cell,
Kerrie Biddell,
China Crisis,
Nation of Ulysses,
The Electric Prunes,
Quadrant,
The Motions,
Fear,
Marmalade,
Scott Walker + Sunn O))),
The Music Machine,
Echospace,
Rowland S Howard / Lydia Lunch,
The Modern Lovers,
Sun Ra Arkestra,
Pierre Henry,
Mary Jane Girls,
Lalann,
The Martian,
Andrew Ashong & Theo Parrish,
Röyhkä ja Rättö ja Lehtisalo,
Roger Hodgson,
The Standells,
The Busters,
The Monochrome Set,
Yazoo,
Barclay James Harvest,
Accadde A,
Sly & The Family Stone,
The Remains,
Don Cherry,
Joensuu 1685,
Rahsaan Roland Kirk,
London Community Gospel Choir,
Peter Gordon & Love of Life Orchestra,
Soft Machine,
Colin Newman,
The Count Five,
The Red Krayola,
Godley & Creme,
The Gladiators,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.