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 Seychelles and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Madrid 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 Josef K practice in a loft in Edinburgh.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Alton Ellis to the crunk kids.
I played it at the Astoria.
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 Bauhaus. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Brick 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Piero Umiliani,
Q65,
Television Personalities,
The Raincoats,
Bill Wells,
Oneida,
Todd Rundgren,
Alphaville,
The Moody Blues,
Avey Tare's Slasher Flicks,
Talk Talk,
Pere Ubu,
Stetsasonic,
Jeff Mills,
Bush Tetras,
Siouxsie and the Banshees,
Radio Birdman,
Marmalade,
Ponytail,
Procol Harum,
Sparks,
Super Lover Cee & Casanova Rud,
Man Parrish,
Johnny Osbourne,
Slave,
Maleditus Sound,
Henry Cow,
Michelle Simonal,
Liliput,
DNA,
The Searchers,
Section 25,
The Fortunes,
Marvin Gaye,
The Black Dice,
Altered Images,
Albert Ayler,
Janne Schatter,
Byron Stingily,
Theoretical Girls,
Masters at Work,
The Electric Prunes,
PIL,
Grandmaster Flash and the Furious Five,
Lonnie Liston Smith,
Roger Hodgson,
Don Cherry,
Camberwell Now,
Howard Jones,
Cameo,
AZ,
Pylon,
It's A Beautiful Day,
Crash Course in Science,
Heaven 17,
Pete Rock & C.L. Smooth,
Fad Gadget,
Carl Craig,
Popol Vuh,
Siglo XX,
Accadde A,
Technova, Technova, Technova, Technova.
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.