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 Madagascar and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Bologna and Seoul.
I'm losing my edge to the art-school Lille 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 China Crisis to the grunge kids.
I played it at the Hacienda.
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 The Durutti Column. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Kerrie Biddell,
Basic Channel,
Public Enemy,
The Shadows of Knight,
Chris Corsano,
Al Stewart,
Fatback Band,
Glenn Branca,
The Five Americans,
The Cure,
Half Japanese,
New Age Steppers,
Kango’s Stein Massive,
The Sound,
Prince Buster,
Anthony Braxton,
Andrew Ashong & Theo Parrish,
June Days,
Ken Boothe,
Sandy B,
Circle Jerks,
Josef K,
Strawberry Alarm Clock,
Crispy Ambulance,
Faust,
David Axelrod,
Marc Almond,
Ultra Naté,
D'Angelo,
Monks,
The Cramps,
Minutemen,
L. Decosne,
Lebanon Hanover,
the Soft Cell,
Quantec,
UT,
Pussy Galore,
Von Mondo,
Lyres,
Model 500,
The Litter,
Clear Light,
Marcia Griffiths,
Bang On A Can,
Excepter,
Subhumans,
Motorama,
Sunsets and Hearts,
Gil Scott-Heron & Brian Jackson,
Spandau Ballet,
The Fugs,
Tears for Fears,
Ten City,
Rhythim Is Rhythim,
Grey Daturas,
Wings,
Black Flag,
The Blackbyrds,
Stereo Dub,
Zero Boys,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.