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 Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 David Axelrod to the disco kids.
I played it at the Astoria.
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 Black Pus. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Arthur Verocai,
Soft Machine,
The Fuzztones,
Das Ding,
Glambeats Corp.,
The Toasters,
Röyhkä ja Rättö ja Lehtisalo,
Strawberry Alarm Clock,
Derrick Morgan,
Crash Course in Science,
Supertramp,
John Holt,
DJ Style,
The Litter,
Sonny Sharrock,
Eric Copeland,
Television,
Sixth Finger,
Soul II Soul,
R.M.O.,
Kauko Röyhkä ja Narttu,
The Smiths,
Model 500,
Hot Snakes,
Avey Tare's Slasher Flicks,
Minor Threat,
Ultramagnetic MC's,
Teenage Jesus and the Jerks,
Harry Pussy,
Matthew Halsall,
Andrew Ashong & Theo Parrish,
Jeff Lynne,
Be Bop Deluxe,
The Stooges,
Mark Hollis,
Newcleus,
Stetsasonic,
Sparks,
Johnny Clarke,
Lower 48,
Throbbing Gristle,
UT,
The Busters,
Black Sheep,
Peter Gordon & Love of Life Orchestra,
Kayak,
Easy Going,
Symarip,
Excepter,
The Alarm Clocks,
Ponytail,
The Modern Lovers,
Unwound,
Lebanon Hanover,
Notorious Big And Bone Thugs,
Marc Almond,
Camberwell Now,
Alice Coltrane,
Barry Ungar,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.