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 Azerbaijan and from Seoul.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
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 Harry Pussy to the dance 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 La Düsseldorf. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Jeff Mills,
Ash Ra Tempel,
John Holt,
Wolf Eyes,
Audionom,
Black Moon,
Symarip,
A Certain Ratio,
DNA,
Orchestral Manoeuvres in the Dark,
Rod Modell,
Echospace,
Ituana,
London Community Gospel Choir,
Ohio Players,
Brass Construction,
Technova,
DJ Style,
Peter & Gordon,
The Music Machine,
Underground Resistance,
The Names,
Laurel Aitken,
Schoolly D,
The Raincoats,
Manfred Mann's Earth Band,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Hasil Adkins,
Prince Buster,
Faust,
MDC,
Mars,
Joensuu 1685,
Oblivians,
Make Up,
Lalann,
Donald Byrd,
Rowland S Howard / Lydia Lunch,
The Martian,
the Fania All-Stars,
T. Rex,
Tropical Tobacco,
Second Layer,
Louis and Bebe Barron,
The Victims,
The Moleskins,
Alice Coltrane,
Y Pants,
The Slits,
Fear,
Scrapy,
48th St. Collective,
Roxy Music,
The Beau Brummels,
Monks,
Gil Scott-Heron & Brian Jackson,
The Tremeloes,
Arthur Verocai,
Nick Cave & The Bad Seeds,
Deakin, Deakin, Deakin, Deakin.
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.