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 St Lucia and from Manila.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Lille 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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Japan to the punk 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 James White and The Blacks. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work 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?
Scratch Acid,
Moby Grape,
Lakeside,
These Immortal Souls,
Echospace,
AZ,
Japan,
Sixth Finger,
The Gladiators,
Minny Pops,
Visionaries,LMNO, T- Love & Iriscience,
The Tremeloes,
Black Pus,
The Walker Brothers,
Dorothy Ashby,
Howard Jones,
Boogie Down Productions,
Sonny Sharrock,
Quando Quango,
Rod Modell,
Monolake,
Robert Hood,
E-Dancer,
Funky Four + One,
Pantaleimon,
Traffic Nightmare,
Hot Snakes,
Urselle,
Cecil Taylor,
The Cosmic Jokers,
This Heat,
The American Breed,
The Five Americans,
Angry Samoans,
Index,
Negative Approach,
Royal Trux,
X-Ray Spex,
Rekid,
H. Thieme,
Neu!,
Depeche Mode,
Smog,
DJ Sneak,
Radio Birdman,
Rakim,
The Vogues,
Avey Tare & Kría Brekkan,
Banda Bassotti,
Rosa Yemen,
kango's stein massive,
Model 500,
The Jesus and Mary Chain,
Technova,
Interpol,
Louis and Bebe Barron,
James Chance & The Contortions,
Brass Construction,
Sällskapet,
Joe Smooth,
Blake Baxter,
Average White Band,
The Star Department, The Star Department, The Star Department, The Star Department.
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.