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 Cameroon and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1975.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Paris 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 theremin sounds with much patience.
I was there when Lou Reed 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 Carl Craig to the punk 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 ABBA. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your linndrum and bought an organ.
I hear that you and your band have sold your organ and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
The Martian,
Dave Gahan,
Wire,
The West Coast Pop Art Experimental Band,
Orchestral Manoeuvres in the Dark,
Circle Jerks,
Don Cherry,
Jeru the Damaja,
Sound Behaviour,
The Victims,
It's A Beautiful Day,
Marine Girls,
Talk Talk,
Saccharine Trust,
Wally Richardson,
Junior Murvin,
Erasure,
Bang on a Can All-Stars,
Pantaleimon,
Anthony Braxton,
Delon & Dalcan,
The Leaves,
John Holt,
The Zeros,
The Pop Group,
Can,
Franke,
Nico,
Tubeway Army,
Shoche,
Henry Cow,
Mr. Review,
The Doobie Brothers,
Larry & the Blue Notes,
Sex Pistols,
Freddie Wadling,
Grandmaster Flash and the Furious Five,
Barry Ungar,
Byron Stingily,
The Techniques,
Skaos,
Ultramagnetic MC's,
Cal Tjader,
Gregory Isaacs,
H. Thieme,
MDC,
Kerrie Biddell,
Aaron Thompson,
Louis and Bebe Barron,
Scientists,
Gerry Rafferty,
The Birthday Party,
Rosa Yemen,
Swell Maps,
The Alarm Clocks,
Television Personalities,
Red Lorry Yellow Lorry,
Dual Sessions,
Excepter,
Lee Hazlewood,
Stiv Bators,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.