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 Malta and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Paris 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 Josef K practice in a loft in Edinburgh.
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 The Doobie Brothers to the rap kids.
I played it at the Troubador.
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 Morten Harket. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Jerry's Kids 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
London Community Gospel Choir,
Interpol,
Tears for Fears,
Quadrant,
Sam Rivers,
Saccharine Trust,
Gil Scott-Heron and Jamie xx,
Gil Scott Heron,
Das Ding,
10cc,
The Mojo Men,
Toni Rubio,
PIL,
Sly & The Family Stone,
The Doors,
Neu!,
Can,
Letta Mbulu,
The Index,
Sparks,
Ultramagnetic MC's,
John Coltrane,
Agitation Free,
Blossom Toes,
Buzzcocks,
Ken Boothe,
Bootsy's Rubber Band,
Reagan Youth,
Country Joe & The Fish,
Dave Gahan,
The Slackers,
The Fugs,
D'Angelo,
Robert Görl,
Arab on Radar,
Delta 5,
Talk Talk,
Neil Young,
Lungfish,
Cheater Slicks,
Audionom,
These Immortal Souls,
The Associates,
Bauhaus,
Dark Day,
Larry & the Blue Notes,
Heavy D & The Boyz,
The Mummies,
The Jesus and Mary Chain,
Minor Threat,
Khruangbin,
Boredoms,
KRS-One,
Derrick May,
Jacques Brel,
Prince Buster,
The Gories,
Man Eating Sloth,
Drive Like Jehu,
Joe Smooth,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.