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 Kazakhstan and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1966 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Tehran 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Bob Dylan to the dance 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 Minutemen. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe 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 rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Nation of Ulysses,
Rhythm & Sound,
Kool Moe Dee,
Visage,
Interpol,
The Associates,
Minutemen,
Drexciya,
The Mojo Men,
Thompson Twins,
Pantytec,
the Bar-Kays,
Sexual Harrassment,
Sight & Sound,
Dual Sessions,
June Days,
Bob Dylan,
Crispy Ambulance,
Rhythim Is Rhythim,
The Mummies,
The Golliwogs,
Stockholm Monsters,
The Blackbyrds,
Qualms,
Bluetip,
Harmonia,
Sister Nancy,
Massinfluence,
DeepChord presents Echospace,
Avey Tare,
Public Enemy,
Bang On A Can,
Ronnie Foster,
Lebanon Hanover,
Hasil Adkins,
Beasts of Bourbon,
These Immortal Souls,
The Motions,
New Order,
The Offenders,
Pharaoh Sanders and the Fire Engines,
Angry Samoans,
Andrew Ashong & Theo Parrish,
Inner City,
The Kinks,
KRS-One,
Max Romeo,
Lee Hazlewood,
Erykah Badu,
The Leaves,
The Shadows of Knight,
Faust,
the Germs,
Organ,
Sugar Minott,
Franke,
Sun City Girls,
Model 500,
Joensuu 1685,
Kerri Chandler,
In Retrospect,
Gian Franco Pienzio,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.