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 Estonia and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1964 to 1976.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 Josef K practice in a loft in Edinburgh.
I was working on the theremin 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 Blake Baxter to the punk kids.
I played it at the Roxy.
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 The Wake. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Angels of Light & Akron/Family,
Lou Reed & John Cale,
Unwound,
Jacob Miller,
Hardrive,
Ronnie Foster,
John Coltrane,
The Gun Club,
Youth Brigade,
DNA,
Michelle Simonal,
Public Enemy,
Circle Jerks,
Swell Maps,
Alison Limerick,
Eli Mardock,
Ultravox,
Robert Wyatt,
Jeru the Damaja,
Scratch Acid,
Rapeman,
Art Ensemble Of Chicago,
The Fortunes,
The Offenders,
48th St. Collective,
Gang of Four,
Bobby Hutcherson,
Warsaw,
De La Soul & Jungle Brothers,
Echospace,
The Angels of Light,
LL Cool J,
Nation of Ulysses,
Mo-Dettes,
Agent Orange,
The Toasters,
Buzzcocks,
Kauko Röyhkä ja Narttu,
Carl Craig,
The Peanut Butter Conspiracy,
Kool G Rap & DJ Polo,
OOIOO,
Stetsasonic,
The Human League,
Brand Nubian,
Adolescents,
The Litter,
Terry Callier,
Scan 7,
Japan,
Country Teasers,
Tropical Tobacco,
The Blackbyrds,
Khruangbin,
Patti Smith,
Erasure,
Kool Moe Dee,
the Soft Cell,
Los Fastidios,
Simply Red,
Sexual Harrassment,
Audionom, Audionom, Audionom, Audionom.
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.