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 Somalia and from Manila.
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 1963 to 1977.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school Manchester 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 Zapp practice in a loft in Hamilton.
I was working on the linndrum 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 The Remains to the jazz kids.
I played it at the Spitz.
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 X-101. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
The Sound,
Vladislav Delay,
Neil Young & Crazy Horse,
The Flesh Eaters,
The United States of America,
The Fortunes,
X-102,
Clear Light,
Hasil Adkins,
Masters at Work,
Fifty Foot Hose,
Harpers Bizarre,
La Düsseldorf,
Wighnomy Brothers & Robag Wruhme,
Index,
Carl Craig,
Kool G Rap & DJ Polo,
Model 500,
Magma,
Piero Umiliani,
Blake Baxter,
Junior Murvin,
Gang Starr,
Teenage Jesus and the Jerks,
Lonnie Liston Smith,
Barclay James Harvest,
Quando Quango,
8 Eyed Spy,
Super Lover Cee & Casanova Rud,
Strawberry Alarm Clock,
D'Angelo,
This Heat,
Arthur Verocai,
Selector Dub Narcotic,
Jeff Mills,
Jandek,
Theoretical Girls,
The Smoke,
Rekid,
Marshall Jefferson,
Kauko Röyhkä ja Narttu,
Kaleidoscope,
Danielle Patucci,
Stockholm Monsters,
Nas,
Altered Images,
Joy Division,
Cameo,
Avey Tare & Kría Brekkan,
OOIOO,
Newcleus,
Dave Gahan,
Don Cherry,
Nation of Ulysses,
the Swans,
DJ Style,
Ultravox,
Stereo Dub,
Lou Reed & Metallica,
X-101,
Eden Ahbez,
Excepter,
Nick Cave & The Bad Seeds,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.