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 Namibia and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 Accra and Portland.
I'm losing my edge to the art-school Lyon 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Connie Case to the crunk kids.
I played it at the Astoria.
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 Sisters of Mercy. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Thee Headcoats 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Thee Headcoats,
CMW,
The Young Rascals,
ABC,
The Associates,
The New Christs,
Yellowson,
The Residents,
Andrew Ashong & Theo Parrish,
DeepChord presents Echospace,
The United States of America,
Morten Harket,
Bobby Sherman,
Dawn Penn,
Minutemen,
Janne Schatter,
Junior Murvin,
Bizarre Inc.,
Cluster,
Matthew Halsall,
Khruangbin,
Severed Heads,
The Pop Group,
London Community Gospel Choir,
These Immortal Souls,
Eurythmics,
Oneida,
JFA,
Throbbing Gristle,
Pussy Galore,
The Cosmic Jokers,
The Litter,
The Smoke,
Josef K,
Bluetip,
Agent Orange,
Girls At Our Best!,
Pagans,
Barbara Tucker,
ABBA,
Hardrive,
Rakim,
Pet Shop Boys,
Roy Ayers,
Camberwell Now,
K-Klass,
The Seeds,
A Certain Ratio,
Cecil Taylor,
Sound Behaviour,
Pierre Henry,
Black Sheep,
The Angels of Light,
Radiopuhelimet,
Johnny Osbourne,
The Music Machine,
Fort Wilson Riot,
Echospace,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.