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 Slovakia and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Beijing 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 linndrum 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 X-Ray Spex to the electroclash 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 Vaughan Mason & Crew. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
the Swans,
Anthony Braxton,
Aaron Thompson,
Eric B and Rakim,
The Kinks,
Dual Sessions,
Todd Terry,
Stereo Dub,
The Remains,
Urselle,
Drexciya,
The Busters,
Quantec,
Agitation Free,
Glenn Branca,
These Immortal Souls,
De La Soul & Jungle Brothers,
Joy Division,
Fela Kuti,
Lou Christie,
Curtis Mayfield,
Talk Talk,
the Association,
Yusef Lateef,
Public Enemy,
Cecil Taylor,
Bad Manners,
Eyeless In Gaza,
Magazine,
Johnny Osbourne,
Rapeman,
Shuggie Otis,
Robert Görl,
Newcleus,
Unrelated Segments,
The Moody Blues,
Circle Jerks,
Saccharine Trust,
Kayak,
The Litter,
Lizzy Mercier Descloux,
Simply Red,
Camouflage,
Ultravox,
Eve St. Jones,
The Pop Group,
It's A Beautiful Day,
The Victims,
DNA,
The Neon Judgement,
Vaughan Mason & Crew,
Ash Ra Tempel,
The Offenders,
David Axelrod,
Terrestrial Tones,
Manfred Mann's Earth Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
EPMD,
Peter Gordon & Love of Life Orchestra,
Sparks,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.