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 Belize and from Toronto.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 Mad Mike to the disco kids.
I played it at Cafe Wha.
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 Aural Exciters. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Lower 48,
Gian Franco Pienzio,
Audionom,
the Normal,
The Slits,
Japan,
8 Eyed Spy,
X-Ray Spex,
Gichy Dan,
Qualms,
Trumans Water,
Amon Düül II,
Saccharine Trust,
Roy Ayers,
Lou Reed,
the Germs,
The Cosmic Jokers,
FM Einheit,
Main Source,
Throbbing Gristle,
L. Decosne,
One Last Wish,
Boredoms,
Terrestrial Tones,
Fluxion,
Jeff Mills,
The Chocolate Watch Band,
The Selecter,
Charles Mingus,
Buzzcocks,
Excepter,
Jeff Lynne,
Parry Music,
The Beau Brummels,
Sexual Harrassment,
Mark Hollis,
Barbara Tucker,
The Monks,
Albert Ayler,
Althea and Donna,
Das Ding,
Grandmaster Flash and the Furious Five,
Reagan Youth,
Man Parrish,
Mr. Review,
Deadbeat,
Talk Talk,
These Immortal Souls,
Gang of Four,
Dave Gahan,
The Monochrome Set,
Robert Wyatt,
kango's stein massive,
John Lydon,
Sonny Sharrock,
China Crisis,
Sonic Youth,
Gabor Szabo,
Pharaoh Sanders and the Fire Engines,
The Toasters,
Fela Kuti,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.