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 Laos and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Madrid and Glasgow.
I'm losing my edge to the art-school Halifax 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 spring reverb 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 The Stooges to the punk kids.
I played it at the Crocodile.
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 Jeff Mills. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Mission of Burma,
Chris & Cosey,
Von Mondo,
Clear Light,
The Slits,
Hot Snakes,
The Flesh Eaters,
Visage,
Bootsy Collins,
Wings,
Kauko Röyhkä ja Narttu,
Scan 7,
The Trojans,
Junior Murvin,
Robert Hood,
Fear,
Whodini,
The Selecter,
Jawbox,
Crime,
Kings Of Tomorrow,
Royal Trux,
Fatback Band,
Ponytail,
Curtis Mayfield,
Roy Ayers,
Soft Machine,
Liaisons Dangereuses,
The Associates,
It's A Beautiful Day,
the Fania All-Stars,
Arthur Verocai,
Mr. Review,
De La Soul & Jungle Brothers,
Pantaleimon,
Thee Headcoats,
Marmalade,
F. McDonald,
Frankie Knuckles,
The Sisters of Mercy,
Donny Hathaway,
New York Dolls,
Suburban Knight,
The Real Kids,
Inner City,
Eric Dolphy,
Barbara Tucker,
Unwound,
The Neon Judgement,
Warren Ellis,
Magazine,
The J.B.'s,
Main Source,
Kool G Rap & DJ Polo,
Graham Central Station,
Kango’s Stein Massive,
Joensuu 1685,
The Durutti Column,
X-Ray Spex,
Charles Mingus,
The Tremeloes,
Gang Green, Gang Green, Gang Green, Gang Green.
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.