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 Lebanon and from Toronto.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Spokane 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 spring reverb 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 Echo & the Bunnymen to the dance kids.
I played it at the Crocodile.
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 Connie Case. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Neil Young & Crazy Horse,
Delta 5,
The Cosmic Jokers,
Joe Smooth,
Jeff Lynne,
Ash Ra Tempel,
The Doors,
The Fire Engines,
Gil Scott-Heron and Jamie xx,
Aloha Tigers,
Minnie Riperton,
Aaron Thompson,
Massinfluence,
The Jesus and Mary Chain,
Wasted Youth,
Brothers Johnson,
Magma,
Derrick Morgan,
Accadde A,
Ralphi Rosario,
Selector Dub Narcotic,
Peter and Kerry,
Franke,
a-ha,
Sad Lovers and Giants,
Wire,
Sugar Minott,
Darondo,
The Names,
Letta Mbulu,
Von Mondo,
The Associates,
Hasil Adkins,
Eddi Front,
Kas Product,
FM Einheit,
The Blues Magoos,
Anthony Braxton,
The Shadows of Knight,
Rekid,
Agitation Free,
The Smiths,
The Toasters,
Louis and Bebe Barron,
Gian Franco Pienzio,
Mark Hollis,
Skriet,
Kenny Larkin,
Ultramagnetic MC's,
June of 44,
The Electric Prunes,
In Retrospect,
David McCallum,
Pole,
Dorothy Ashby,
Bizarre Inc.,
Moby Grape,
Marmalade, Marmalade, Marmalade, Marmalade.
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.