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 Estonia and from Glasgow.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Milan and Paris.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Gang Gang Dance to the funk 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 Colin Newman. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Joensuu 1685,
Bauhaus,
The Trojans,
The Fuzztones,
Leonard Cohen,
Peter and Kerry,
The Chocolate Watch Band,
The Slits,
A Flock of Seagulls,
Visage,
The Martian,
Depeche Mode,
Severed Heads,
Chrome,
Flash Fearless,
Mandrill,
David McCallum,
Notorious Big And Bone Thugs,
Eyeless In Gaza,
Chris & Cosey,
Popol Vuh,
The Fugs,
Skaos,
Derrick May,
Drive Like Jehu,
Duran Duran,
Michelle Simonal,
Alice Coltrane,
The Neon Judgement,
Organ,
The Men They Couldn't Hang,
Bill Near,
Gastr Del Sol,
the Slits,
The Modern Lovers,
The Blackbyrds,
Pierre Henry,
Nik Kershaw,
Warsaw,
Hashim,
Hot Snakes,
Manfred Mann's Earth Band,
Amon Düül,
The Moleskins,
Strawberry Alarm Clock,
Archie Shepp,
Kerrie Biddell,
Lebanon Hanover,
James White and The Blacks,
Television,
Make Up,
Eve St. Jones,
Sixth Finger,
UT,
Pussy Galore,
Matthew Halsall,
The Sisters of Mercy,
Gong,
Index,
La Düsseldorf,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.