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 Norway and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in London and Stockholm.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Can to the rap 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 Neon Judgement. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Colin Newman,
Throbbing Gristle,
The Alarm Clocks,
Marc Almond,
Echo & the Bunnymen,
Super Lover Cee & Casanova Rud,
Fugazi,
Bluetip,
Andrew Hill,
The Cure,
Second Layer,
Susan Cadogan,
Reuben Wilson,
Animal Collective,
Gang Green,
The American Breed,
Eurythmics,
L. Decosne,
Rapeman,
Thompson Twins,
Joy Division,
Ultimate Spinach,
Lucky Dragons,
Saccharine Trust,
Ash Ra Tempel,
Rod Modell,
Kango’s Stein Massive,
Gichy Dan,
Swell Maps,
Scratch Acid,
X-Ray Spex,
The Gap Band,
The Wake,
The Zeros,
Jeru the Damaja,
Joyce Sims,
The Invisible,
These Immortal Souls,
the Germs,
The Cowsills,
Sly & The Family Stone,
Tears for Fears,
The Five Americans,
Amazonics,
Ken Boothe,
Altered Images,
David Axelrod,
Jeff Mills,
The Selecter,
E-Dancer,
The Moody Blues,
Franke,
Eddi Front,
Index,
Buzzcocks,
Oppenheimer Analysis,
H. Thieme,
Vainqueur,
Barry Ungar,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.