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 Guyana and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Halifax.
I'm losing my edge to the art-school London 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 marimba 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 Neil Young & Crazy Horse to the dance kids.
I played it at the Spitz.
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 Maurizio. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Ponytail,
Cybotron,
The Sonics,
Bootsy Collins,
Oppenheimer Analysis,
Jesper Dahlback,
Skaos,
Gabor Szabo,
Jacques Brel,
Major Organ And The Adding Machine,
The Buckinghams,
Joe Smooth,
Mad Mike,
Lonnie Liston Smith,
Loose Ends,
Zapp,
F. McDonald,
Neu!,
Ossler,
Slick Rick,
Cameo,
Bizarre Inc.,
Dorothy Ashby,
Reuben Wilson,
Interpol,
Ken Boothe,
Underground Resistance,
Barrington Levy,
Blancmange,
X-102,
The Skatalites,
Bauhaus,
Derrick May,
Drive Like Jehu,
Radio Birdman,
Oblivians,
Matthew Halsall,
Brand Nubian,
Jeff Lynne,
Alphaville,
Liaisons Dangereuses,
Visage,
Ludus,
Delta 5,
Larry & the Blue Notes,
Lucky Dragons,
Erasure,
Fugazi,
Pere Ubu,
Deadbeat,
Marine Girls,
Lizzy Mercier Descloux,
DJ Sneak,
The Last Poets,
Jawbox,
Slave,
Kango’s Stein Massive,
Sly & The Family Stone,
Henry Cow,
Bootsy's Rubber Band,
Camberwell Now,
It's A Beautiful Day,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.