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 Liechtenstein and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1974.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school Mumbai 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 sitar 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 the Swans to the electroclash 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 James Chance & The Contortions. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Ash Ra Tempel,
Avey Tare & Kría Brekkan,
Archie Shepp,
A Certain Ratio,
The Divine Comedy,
Piero Umiliani,
Sly & The Family Stone,
a-ha,
The Grass Roots,
Terrestrial Tones,
Todd Terry,
Schoolly D,
The Red Krayola,
Deutsch Amerikanische Freundschaft,
The Invisible,
Lindisfarne,
Bobby Hutcherson,
Freddie Wadling,
Radiohead,
Khruangbin,
June of 44,
Soft Machine,
Marc Almond,
James Chance & The Contortions,
The Shadows of Knight,
E-Dancer,
Bronski Beat,
Laurel Aitken,
Pere Ubu,
T.S.O.L.,
Electric Light Orchestra,
London Community Gospel Choir,
Dark Day,
Model 500,
10cc,
Wolf Eyes,
Siouxsie and the Banshees,
Ultimate Spinach,
Absolute Body Control,
Porter Ricks,
Bobbi Humphrey,
Simply Red,
Audionom,
KRS-One,
The Trojans,
Kango’s Stein Massive,
Half Japanese,
The Mummies,
Anthony Braxton,
Stockholm Monsters,
Eli Mardock,
Minny Pops,
Can,
the Sonics,
This Heat,
Cybotron,
The West Coast Pop Art Experimental Band,
Masters at Work,
The Standells,
Pete Rock & C.L. Smooth,
Blake Baxter,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.