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 Albania and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Accra 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Litter to the jazz kids.
I played it at the Hacienda.
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 Scion. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal rock 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 a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar 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 Cure,
Hashim,
Maleditus Sound,
Kauko Röyhkä ja Narttu,
Lalann,
Todd Rundgren,
Mantronix,
Laurel Aitken,
Boogie Down Productions,
Wally Richardson,
The Trojans,
Anakelly,
Simply Red,
Yellowson,
Donald Byrd,
Lou Christie,
Robert Hood,
Blancmange,
Skriet,
Underground Resistance,
Manfred Mann's Earth Band,
Pere Ubu,
Siouxsie and the Banshees,
Interpol,
Agitation Free,
Can,
Oppenheimer Analysis,
Tears for Fears,
Guru Guru,
Scratch Acid,
Parry Music,
The Star Department,
Vladislav Delay,
Model 500,
Blake Baxter,
Dark Day,
Beasts of Bourbon,
Supertramp,
the Slits,
Johnny Clarke,
Shuggie Otis,
Crispy Ambulance,
Tropical Tobacco,
Robert Görl,
David Bowie,
The Invisible,
Jandek,
The Durutti Column,
Saccharine Trust,
Jacob Miller,
Dual Sessions,
Johnny Osbourne,
Sparks,
Black Flag,
The Peanut Butter Conspiracy,
Bootsy's Rubber Band,
Animal Collective,
Warren Ellis,
The Selecter,
Mary Jane Girls,
New York Dolls,
Todd Terry,
Monks, Monks, Monks, Monks.
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.