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 Mongolia and from Seoul.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
I'm losing my edge to the art-school Stockholm 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 theremin 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 Swell Maps to the jazz 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 Half Japanese. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Jeru the Damaja 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 '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Erasure,
Quadrant,
Roy Ayers Ubiquity,
Procol Harum,
The Five Americans,
Heaven 17,
Graham Central Station,
New Order,
The Selecter,
Byron Stingily,
The Gories,
Ultra Naté,
Los Fastidios,
Amon Düül II,
Rod Modell,
Kool Moe Dee,
Ponytail,
Kauko Röyhkä ja Narttu,
Vainqueur,
Amon Düül,
The Standells,
The Human League,
The Mighty Diamonds,
The Slits,
Scrapy,
Derrick Morgan,
Louis and Bebe Barron,
Parry Music,
The Dirtbombs,
Television,
Black Bananas,
Terrestrial Tones,
Desert Stars,
The Jesus and Mary Chain,
Cabaret Voltaire,
Tres Demented,
Lower 48,
The Durutti Column,
The Tremeloes,
Fluxion,
Bob Dylan,
Monks,
Malaria!,
Boz Scaggs,
Drexciya,
Goldenarms,
Lebanon Hanover,
Liliput,
Roxette,
Bauhaus,
DeepChord presents Echospace,
Kayak,
Chris & Cosey,
Half Japanese,
Funky Four + One,
The Neon Judgement,
Cluster,
Thee Headcoats,
Avey Tare's Slasher Flicks,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.