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 Ireland and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1977.
I'm losing my edge.
To all the kids in Paris and Accra.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Adolescents to the grime 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 The Sisters of Mercy. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal electroclash 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 a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Curtis Mayfield,
Charles Mingus,
Monks,
Strawberry Alarm Clock,
Jimmy McGriff,
The Offenders,
Jawbox,
Gabor Szabo,
Angels of Light & Akron/Family,
Nico,
Jerry Gold Smith,
Sound Behaviour,
The Fire Engines,
R.M.O.,
Jandek,
Freddie Wadling,
The Misunderstood,
Half Japanese,
Glambeats Corp.,
David Axelrod,
Donald Byrd,
Boogie Down Productions,
The Wake,
The Victims,
Youth Brigade,
The Buckinghams,
Boz Scaggs,
The Royal Family And The Poor,
Altered Images,
Scion,
Manfred Mann's Earth Band,
The Vogues,
Bootsy's Rubber Band,
Deepchord,
Terry Callier,
Audionom,
Magma,
The Dave Clark Five,
The New Christs,
Danielle Patucci,
Althea and Donna,
Pet Shop Boys,
the Germs,
Delon & Dalcan,
Accadde A,
Robert Görl,
Robert Wyatt,
New York Dolls,
Babytalk,
Bauhaus,
Fatback Band,
Jeru the Damaja,
Nick Cave & The Bad Seeds,
The Doobie Brothers,
Barrington Levy,
Shuggie Otis,
Animal Collective,
Graham Central Station,
Q and Not U,
The Dead C,
The Flesh Eaters,
Funky Four + One,
Bill Near, Bill Near, Bill Near, Bill Near.
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.