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 Manila.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 Sonic Youth to the rock 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 Reagan Youth. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
The Cure,
The Associates,
The Doobie Brothers,
Clear Light,
Teenage Jesus and the Jerks,
Lizzy Mercier Descloux,
Amazonics,
Robert Görl,
Dark Day,
Fatback Band,
Khruangbin,
Minny Pops,
Chris & Cosey,
Erykah Badu,
Cybotron,
Amon Düül II,
Pete Rock & C.L. Smooth,
The Fortunes,
Nick Cave & The Bad Seeds,
Spandau Ballet,
Mars,
Funky Four + One,
The Pop Group,
Jacques Brel,
The Blackbyrds,
John Foxx,
Anakelly,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mo-Dettes,
Rekid,
Jesper Dahlbäck,
EPMD,
Leonard Cohen,
Intrusion,
The Fuzztones,
Janne Schatter,
Dr. Dre and Snoop Doggy Dog,
Jeff Mills,
June Days,
Eyeless In Gaza,
The Detroit Cobras,
Simply Red,
Todd Terry,
Alison Limerick,
F. McDonald,
Qualms,
Gang Green,
The Royal Family And The Poor,
Q and Not U,
Cluster,
Monks,
Aswad,
Circle Jerks,
The Velvet Underground,
Depeche Mode,
Absolute Body Control,
Rites of Spring,
Bluetip,
Glambeats Corp.,
Saccharine Trust,
Andrew Ashong & Theo Parrish,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.