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 Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Taipei 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Kango’s Stein Massive to the grime 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 Erasure. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Pulsallama 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Unwound,
Brothers Johnson,
Wasted Youth,
John Coltrane,
DeepChord presents Echospace,
Howard Jones,
The Neon Judgement,
Marmalade,
T. Rex,
JFA,
Deadbeat,
Eurythmics,
The American Breed,
Curtis Mayfield,
Sam Rivers,
DJ Style,
Animal Collective,
Reagan Youth,
Gabor Szabo,
Joyce Sims,
Terry Callier,
Audionom,
Chris Corsano,
Japan,
James White and The Blacks,
Neil Young,
Josef K,
Malaria!,
Charles Mingus,
Easy Going,
The Trojans,
Tres Demented,
Sound Behaviour,
Steve Hackett,
Isaac Hayes,
Angry Samoans,
Eddi Front,
The Fall,
Echospace,
Eli Mardock,
Fad Gadget,
The Slits,
Amon Düül II,
Peter Gordon & Love of Life Orchestra,
Kaleidoscope,
Guru Guru,
Maleditus Sound,
The Sonics,
Brass Construction,
Sarah Menescal,
Bobby Byrd,
Von Mondo,
DNA,
Orchestral Manoeuvres in the Dark,
The Pretty Things,
Rotary Connection,
Outsiders,
Bootsy Collins,
Sonny Sharrock,
Gil Scott Heron,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.