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 Ireland and from Toronto.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Manchester and Seoul.
I'm losing my edge to the art-school Jakarta 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Marshall Jefferson to the jazz kids.
I played it at the Troubador.
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 The Five Americans. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Malaria! 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Radiohead,
Lou Reed & John Cale,
Kango’s Stein Massive,
The Birthday Party,
Livin' Joy,
Con Funk Shun,
Quadrant,
Robert Wyatt,
Sound Behaviour,
Teenage Jesus and the Jerks,
DeepChord presents Echospace,
Wally Richardson,
Black Bananas,
Mo-Dettes,
Unrelated Segments,
Stiv Bators,
Eden Ahbez,
Lou Reed,
Negative Approach,
Gastr Del Sol,
Derrick Morgan,
The Count Five,
Freddie Wadling,
Saccharine Trust,
Gil Scott Heron,
Silicon Teens,
Eurythmics,
The Peanut Butter Conspiracy,
Blossom Toes,
The Gladiators,
Mark Hollis,
Al Stewart,
Terrestrial Tones,
Mars,
Gang Green,
Junior Murvin,
Dorothy Ashby,
Idris Muhammad,
The Slackers,
Steve Hackett,
Main Source,
Connie Case,
Minnie Riperton,
The Real Kids,
Gichy Dan,
Marshall Jefferson,
Popol Vuh,
Public Image Ltd.,
New Age Steppers,
Q65,
John Foxx,
Chris & Cosey,
Beasts of Bourbon,
Boogie Down Productions,
Gang Gang Dance,
Los Fastidios,
In Retrospect,
Matthew Bourne,
Faraquet,
Tomorrow,
Black Flag,
Liliput, Liliput, Liliput, Liliput.
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.