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 Barbados and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Johannesburg and Tokyo.
I'm losing my edge to the art-school Edmonton 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 Tom Verlaine 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 punk 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 Bill Near. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins 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?
Arab on Radar,
In Retrospect,
Pierre Henry,
Khruangbin,
Livin' Joy,
Scion,
Grandmaster Flash and the Furious Five,
Aswad,
Letta Mbulu,
Can,
Kings Of Tomorrow,
The J.B.'s,
Q65,
Pet Shop Boys,
Notorious BIG live in Amsterdam,
Bill Wells,
Interpol,
Yusef Lateef,
Radiohead,
The Golliwogs,
Intrusion,
Ultra Naté,
Swans,
Ajijia Myrayebe,
Rotary Connection,
Black Bananas,
Underground Resistance,
Y Pants,
The Jesus and Mary Chain,
Morten Harket,
Tears for Fears,
Juan Atkins,
Con Funk Shun,
F. McDonald,
Brand Nubian,
Soul Sonic Force,
Royal Trux,
A Certain Ratio,
Grauzone,
Mad Mike,
the Association,
Stiv Bators,
Blossom Toes,
Oneida,
Easy Going,
The Sonics,
Urselle,
the Fania All-Stars,
Röyhkä ja Rättö ja Lehtisalo,
Soft Machine,
The Royal Family And The Poor,
Sun City Girls,
Television Personalities,
Prince Buster,
Laurel Aitken,
Mr. Review,
Outsiders,
Jacob Miller,
Stockholm Monsters,
Dead Boys,
The Dirtbombs,
The Fire Engines,
Andrew Ashong & Theo Parrish,
Adolescents, Adolescents, Adolescents, Adolescents.
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.