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 Latvia and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Milan 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 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 Heaven 17 to the jazz kids.
I played it at Trash.
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 Tommy Roe. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every The American Breed 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 '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon 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?
Glenn Branca,
Crime,
Art Ensemble Of Chicago,
Minnie Riperton,
Johnny Clarke,
Glambeats Corp.,
The Mojo Men,
Minor Threat,
The Tremeloes,
The Fall,
OOIOO,
The United States of America,
Marcia Griffiths,
The Neon Judgement,
Sexual Harrassment,
the Human League,
The Star Department,
Mary Jane Girls,
T. Rex,
ABBA,
the Association,
Barclay James Harvest,
Jesper Dahlbäck,
Dorothy Ashby,
Intrusion,
Tommy Roe,
Gang Green,
Excepter,
Fear,
Chris Corsano,
The Count Five,
Gang of Four,
Yusef Lateef,
Bob Dylan,
Althea and Donna,
Black Bananas,
Manfred Mann's Earth Band,
Suburban Knight,
The Walker Brothers,
Deakin,
48th St. Collective,
Big Daddy Kane,
Man Eating Sloth,
Brand Nubian,
Q and Not U,
JFA,
Joe Smooth,
The Cure,
Juan Atkins,
KRS-One,
Andrew Ashong & Theo Parrish,
Ultra Naté,
The Five Americans,
Jeff Lynne,
Agent Orange,
June of 44,
Tres Demented,
The Electric Prunes,
Duran Duran,
Amon Düül II,
Eurythmics,
Teenage Jesus and the Jerks,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.