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 Gambia and from Johannesburg.
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 1960 to 1976.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Columbus 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 808 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 Cabaret Voltaire to the grunge kids.
I played it at the 40 Watt.
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 Glenn Branca. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Trojans,
Smog,
The Wake,
48th St. Collective,
cv313,
Liliput,
the Association,
Man Parrish,
Lou Reed,
Todd Rundgren,
Kerrie Biddell,
Duran Duran,
Loose Ends,
Vladislav Delay,
Lungfish,
Faust,
Moby Grape,
Dr. Dre and Snoop Doggy Dog,
New Age Steppers,
Sparks,
The Skatalites,
Underground Resistance,
Oppenheimer Analysis,
Justin Hinds & The Dominoes,
Amon Düül II,
Crooked Eye,
Eric Copeland,
Unrelated Segments,
Joy Division,
John Coltrane,
Peter Gordon & Love of Life Orchestra,
Ronan,
Ultravox,
The Music Machine,
Selector Dub Narcotic,
Robert Görl,
PIL,
Minnie Riperton,
Mantronix,
The Blues Magoos,
Howard Jones,
Tim Buckley,
Ohio Players,
Neil Young,
Kerri Chandler,
Pagans,
Bob Dylan,
Pussy Galore,
Soul Sonic Force,
Zapp,
Skriet,
Sarah Menescal,
The Gun Club,
The Slits,
E-Dancer,
These Immortal Souls,
Matthew Bourne,
The Monochrome Set,
Q and Not U,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.