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 Belarus and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Edmonton and Manila.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 La Düsseldorf to the funk kids.
I played it at the Spitz.
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 Absolute Body Control. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a DeepChord presents Echospace record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Flamin' Groovies,
John Lydon,
Moss Icon,
The Index,
Colin Newman,
Can,
Bang on a Can All-Stars,
Faust,
Electric Prunes,
Fluxion,
Connie Case,
Terrestrial Tones,
Negative Approach,
Au Pairs,
Delta 5,
Mission of Burma,
Johnny Clarke,
Parry Music,
Sight & Sound,
Judy Mowatt,
Strawberry Alarm Clock,
The Pop Group,
Dennis Brown,
Beasts of Bourbon,
Gong,
CMW,
Marine Girls,
Jeff Mills,
Dead Boys,
The Blues Magoos,
Lou Christie,
Sarah Menescal,
China Crisis,
The Saints,
New Age Steppers,
Tim Buckley,
Brothers Johnson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Underground Resistance,
The Fuzztones,
Inner City,
The Buckinghams,
Guru Guru,
Skriet,
Zero Boys,
Gichy Dan,
Gil Scott-Heron and Jamie xx,
Soul II Soul,
Fat Boys,
Donald Byrd,
The Dead C,
Mark Hollis,
Amon Düül II,
The Count Five,
Avey Tare's Slasher Flicks,
Adolescents,
Röyhkä ja Rättö ja Lehtisalo,
Thee Headcoats,
Liliput,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.