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 Panama and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Orchestral Manoeuvres in the Dark to the funk 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 Avey Tare's Slasher Flicks. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every The Fortunes 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
The Gap Band,
John Coltrane,
Scott Walker,
Minny Pops,
Tres Demented,
Parry Music,
Country Joe & The Fish,
Sällskapet,
The Residents,
The Fugs,
Stereo Dub,
Scott Walker + Sunn O))),
Electric Light Orchestra,
Babytalk,
Tom Boy,
Kings Of Tomorrow,
The American Breed,
Yazoo,
Siouxsie and the Banshees,
Juan Atkins,
These Immortal Souls,
the Slits,
Kevin Saunderson,
Lonnie Liston Smith,
Outsiders,
Schoolly D,
Yellowson,
Oneida,
Sam Rivers,
Dorothy Ashby,
the Germs,
Rakim,
Sonny Sharrock,
Agitation Free,
Soulsonic Force,
Bluetip,
Peter Gordon & Love of Life Orchestra,
Gil Scott-Heron and Jamie xx,
Ossler,
The Fire Engines,
The Blackbyrds,
Gang Green,
Jeff Lynne,
Flash Fearless,
The Saints,
The Flesh Eaters,
A Flock of Seagulls,
Public Enemy,
Shoche,
Japan,
Skriet,
Q and Not U,
Grandmaster Flash,
Josef K,
La Düsseldorf,
Infiniti,
Sexual Harrassment,
Drive Like Jehu,
The Trojans,
The Stooges,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.