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 Marshall Islands and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Columbus 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Deepchord to the rock 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 Jandek. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every The Blues Magoos record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Yellowson,
Bobby Sherman,
Leonard Cohen,
Siglo XX,
Derrick May,
Moby Grape,
The J.B.'s,
Ossler,
Roy Ayers,
PIL,
The Fall,
The Selecter,
the Sonics,
Slick Rick,
Judy Mowatt,
Visionaries,LMNO, T- Love & Iriscience,
Eve St. Jones,
Icehouse,
the Normal,
Eddi Front,
Jesper Dahlback,
Pulsallama,
Symarip,
Supertramp,
Joensuu 1685,
Jimmy McGriff,
Kayak,
Intrusion,
LL Cool J,
DJ Sneak,
Nils Olav,
Albert Ayler,
Moebius,
Neil Young,
Newcleus,
Orchestral Manoeuvres in the Dark,
The Detroit Cobras,
Big Daddy Kane,
Matthew Bourne,
Suicide,
Fort Wilson Riot,
Erasure,
Dark Day,
Nirvana,
Strawberry Alarm Clock,
Main Source,
Art Ensemble Of Chicago,
Spandau Ballet,
Alison Limerick,
Liaisons Dangereuses,
The Red Krayola,
Procol Harum,
The Remains,
Henry Cow,
The Grass Roots,
Rod Modell,
The Leaves,
The Shadows of Knight,
The Litter,
John Cale,
Tears for Fears,
Pharaoh Sanders and the Fire Engines,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.