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 Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Lille 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 Josef K practice in a loft in Edinburgh.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Joyce Sims to the jazz kids.
I played it at Trash.
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 Amon Düül II. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Mark Hollis,
The Fuzztones,
Bobby Byrd,
A Certain Ratio,
Fela Kuti,
Girls At Our Best!,
Ice-T,
Henry Cow,
Public Enemy,
The Jesus and Mary Chain,
Sunsets and Hearts,
Kurtis Blow,
Pylon,
Sixth Finger,
Sex Pistols,
Ronnie Foster,
Surgeon,
Chrome,
The Dead C,
Notorious Big And Bone Thugs,
The Names,
Tres Demented,
Eli Mardock,
Nation of Ulysses,
Josef K,
A Flock of Seagulls,
F. McDonald,
Fluxion,
Gregory Isaacs,
JFA,
Slave,
KRS-One,
China Crisis,
Radiohead,
The Buckinghams,
T. Rex,
Zapp,
Dr. Dre and Snoop Doggy Dog,
Con Funk Shun,
Orchestral Manoeuvres in the Dark,
Joe Smooth,
Roxy Music,
Aural Exciters,
Drexciya,
The Alarm Clocks,
Cheater Slicks,
The Gap Band,
DNA,
Mantronix,
Ronan,
Newcleus,
Second Layer,
Darondo,
Fugazi,
Index,
Television,
Rotary Connection,
The Blackbyrds,
Strawberry Alarm Clock,
The Toasters, The Toasters, The Toasters, The Toasters.
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.