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 Austria and from Milan.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 Subhumans to the dance kids.
I played it at the Hacienda.
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 Soft Machine. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every L. Decosne 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Robert Görl record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Max Romeo,
Zapp,
June of 44,
Sex Pistols,
Y Pants,
Pete Rock & C.L. Smooth,
Black Moon,
Reagan Youth,
Quantec,
Kurtis Blow,
E-Dancer,
Jesper Dahlback,
Silicon Teens,
Urselle,
The Gap Band,
The Mojo Men,
Crispian St. Peters,
Grauzone,
Visage,
Bootsy's Rubber Band,
The Shadows of Knight,
Ultramagnetic MC's,
Animal Collective,
Mr. Review,
La Düsseldorf,
The Fortunes,
The Walker Brothers,
The Human League,
Mars,
Albert Ayler,
Sällskapet,
Eli Mardock,
Janne Schatter,
Shoche,
Average White Band,
Dawn Penn,
Be Bop Deluxe,
Tears for Fears,
Bill Near,
Chrome,
Terry Callier,
Bob Dylan,
Jacques Brel,
Ultimate Spinach,
Bang On A Can,
Scrapy,
The Blackbyrds,
Young Marble Giants,
Todd Rundgren,
Essential Logic,
Basic Channel,
Avey Tare & Kría Brekkan,
Brick,
Arthur Verocai,
Agent Orange,
Gian Franco Pienzio,
Pussy Galore,
Gang Gang Dance,
The Dave Clark Five,
Bush Tetras,
Eric Copeland,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.