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 Liberia and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Bootsy's Rubber Band to the jazz 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 Theoretical Girls. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Anthony Braxton,
Pagans,
Bobby Byrd,
Alice Coltrane,
The Dead C,
Mo-Dettes,
Danielle Patucci,
Throbbing Gristle,
Brick,
Kauko Röyhkä ja Narttu,
Pet Shop Boys,
World's Most,
Maleditus Sound,
Cymande,
Qualms,
Justin Hinds & The Dominoes,
Technova,
Bob Dylan,
The Modern Lovers,
Accadde A,
Oppenheimer Analysis,
Strawberry Alarm Clock,
Godley & Creme,
Gang Gang Dance,
The Gladiators,
Juan Atkins,
The Doors,
Agent Orange,
Mary Jane Girls,
Joensuu 1685,
Ronan,
Kevin Saunderson,
The Alarm Clocks,
London Community Gospel Choir,
cv313,
Angry Samoans,
Tubeway Army,
Deadbeat,
the Swans,
Don Cherry,
The Mummies,
Gian Franco Pienzio,
New York Dolls,
Lou Reed & Metallica,
The Gap Band,
Delta 5,
Q and Not U,
Massinfluence,
The Neon Judgement,
The Walker Brothers,
Gil Scott-Heron and Jamie xx,
Darondo,
Public Image Ltd.,
James Chance & The Contortions,
Robert Wyatt,
Icehouse,
Faraquet,
Bronski Beat,
Hasil Adkins,
Wire,
Black Flag,
Sad Lovers and Giants,
KRS-One, KRS-One, KRS-One, KRS-One.
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.