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 Sri Lanka and from Mexico City.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Bologna and Spokane.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Jesper Dahlbäck to the dance kids.
I played it at Trash.
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 Cell. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Das Ding 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Ultimate Spinach,
Vaughan Mason & Crew,
Patti Smith,
Smog,
Neil Young,
Icehouse,
Darondo,
Lou Reed,
Rosa Yemen,
Laurel Aitken,
Ralphi Rosario,
Excepter,
Masters at Work,
Gregory Isaacs,
Jeff Mills,
Neu!,
Pagans,
Max Romeo,
Basic Channel,
Warsaw,
The Monochrome Set,
Magma,
Idris Muhammad,
Spandau Ballet,
Pulsallama,
Schoolly D,
Malaria!,
Hot Snakes,
The Toasters,
Bizarre Inc.,
Brick,
Andrew Ashong & Theo Parrish,
Tom Boy,
The Dave Clark Five,
Main Source,
Minny Pops,
Harry Pussy,
Fugazi,
Roy Ayers,
Kango’s Stein Massive,
Michelle Simonal,
Dr. Dre and Snoop Doggy Dog,
Sex Pistols,
Delta 5,
Nico,
Pantaleimon,
Connie Case,
The Black Dice,
Graham Central Station,
B.T. Express,
Pharoah Sanders,
Louis and Bebe Barron,
Mission of Burma,
Sound Behaviour,
The Techniques,
Deutsch Amerikanische Freundschaft,
Kaleidoscope,
Kerri Chandler,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.