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 Kiribati and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Tokyo 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 chamberlin 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 the Swans to the grime 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 Nick Fraelich. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Franke 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Cal Tjader,
Pantaleimon,
Urselle,
Scratch Acid,
Gastr Del Sol,
Eddi Front,
Eric Dolphy,
Sound Behaviour,
Radio Birdman,
Kayak,
Supertramp,
Tres Demented,
Black Flag,
The Standells,
La Düsseldorf,
Monks,
The Moody Blues,
Piero Umiliani,
D'Angelo,
The Raincoats,
Leonard Cohen,
The Kinks,
Subhumans,
The American Breed,
Nils Olav,
Deutsch Amerikanische Freundschaft,
Dual Sessions,
Massinfluence,
U.S. Maple,
Lebanon Hanover,
Fugazi,
Niagra,
Pole,
A Certain Ratio,
The Toasters,
Louis and Bebe Barron,
T.S.O.L.,
The United States of America,
R.M.O.,
Ronan,
Simply Red,
Siouxsie and the Banshees,
Cybotron,
Eric Copeland,
Major Organ And The Adding Machine,
Kenny Larkin,
The Stooges,
Liaisons Dangereuses,
Rod Modell,
World's Most,
Ituana,
Laurel Aitken,
Lungfish,
Negative Approach,
Cecil Taylor,
Ultramagnetic MC's,
Oblivians,
Schoolly D,
Peter and Kerry,
The Beau Brummels,
Strawberry Alarm Clock,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.