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 Norway and from Shanghai.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Halifax and Mumbai.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Sly & The Family Stone to the jazz 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 The Modern Lovers. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Au Pairs 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 a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Avey Tare,
Heavy D & The Boyz,
Sight & Sound,
Gang Gang Dance,
The Mummies,
Siouxsie and the Banshees,
Eric Copeland,
Vaughan Mason & Crew,
Q and Not U,
The Victims,
The Pretty Things,
Bobby Womack,
The Red Krayola,
Man Eating Sloth,
Desert Stars,
Arthur Verocai,
Easy Going,
Terrestrial Tones,
Todd Terry,
Faraquet,
The Fall,
Nation of Ulysses,
James White and The Blacks,
Marc Romboy vs. Booka Shade,
Niagra,
The Sonics,
The Young Rascals,
Bill Wells,
Zapp,
Lou Reed & John Cale,
A Certain Ratio,
La Düsseldorf,
Kayak,
Roxette,
Nils Olav,
Sunsets and Hearts,
Main Source,
Dennis Brown,
Barbara Tucker,
The Durutti Column,
Y Pants,
Donald Byrd,
The Sound,
Pylon,
The Fugs,
Aural Exciters,
Skaos,
The Real Kids,
John Holt,
Pierre Henry,
In Retrospect,
Qualms,
Josef K,
Amazonics,
The Monochrome Set,
Guru Guru,
The Gun Club,
June Days,
Matthew Bourne,
Los Fastidios,
K-Klass,
Sparks, Sparks, Sparks, Sparks.
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.