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 Austria and from Taipei.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Salvador and Toronto.
I'm losing my edge to the art-school Lyon 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 Zapp practice in a loft in Hamilton.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Blancmange to the electroclash kids.
I played it at the Spitz.
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 Grauzone. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal dance 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 a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
The Cramps,
Youth Brigade,
Masters at Work,
Eden Ahbez,
Visionaries,LMNO, T- Love & Iriscience,
David Axelrod,
The Moleskins,
Tubeway Army,
In Retrospect,
AZ,
Boogie Down Productions,
Magazine,
Wolf Eyes,
Arcadia,
Pagans,
Supertramp,
La Düsseldorf,
Dark Day,
The Raincoats,
Frankie Knuckles,
These Immortal Souls,
John Lydon,
Robert Hood,
Maurizio,
Michelle Simonal,
The Gories,
Sparks,
The Jesus and Mary Chain,
Jerry's Kids,
Main Source,
Franke,
Eurythmics,
Brand Nubian,
Bluetip,
Joy Division,
John Holt,
Vladislav Delay,
Sight & Sound,
Intrusion,
Slick Rick,
Idris Muhammad,
Susan Cadogan,
Blossom Toes,
Crispy Ambulance,
Theoretical Girls,
Suburban Knight,
Bizarre Inc.,
The Fire Engines,
Can,
Kauko Röyhkä ja Narttu,
Gichy Dan,
Kings Of Tomorrow,
Kaleidoscope,
New York Dolls,
Pole,
Pet Shop Boys,
Byron Stingily,
Grauzone,
Leonard Cohen,
Oneida,
The Slits,
The Techniques, The Techniques, The Techniques, The Techniques.
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.