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 Bangladesh and from Bologna.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Jakarta 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Scrapy to the grunge kids.
I played it at the Troubador.
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 Banda Bassotti. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
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 The Gladiators record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
In Retrospect,
June of 44,
Janne Schatter,
Joy Division,
Stetsasonic,
Nico,
Throbbing Gristle,
Jacques Brel,
Marcia Griffiths,
The Modern Lovers,
F. McDonald,
Hardrive,
Aural Exciters,
Graham Central Station,
Lakeside,
Q65,
H. Thieme,
The Blackbyrds,
Faust,
Peter & Gordon,
Kerrie Biddell,
Nick Cave & The Bad Seeds,
The Golliwogs,
Panda Bear,
Dorothy Ashby,
Josef K,
Sugar Minott,
Ultimate Spinach,
Ash Ra Tempel,
Big Daddy Kane,
Excepter,
Tommy Roe,
Rotary Connection,
Echospace,
Grandmaster Flash and the Furious Five,
Glambeats Corp.,
Teenage Jesus and the Jerks,
Matthew Bourne,
U.S. Maple,
Neu!,
Jawbox,
The Sisters of Mercy,
Robert Görl,
The Selecter,
Arab on Radar,
Al Stewart,
Sly & The Family Stone,
Bootsy's Rubber Band,
The Gladiators,
Faraquet,
Intrusion,
The Buckinghams,
Delon & Dalcan,
Whodini,
The Shadows of Knight,
Kool Moe Dee,
the Bar-Kays,
Pulsallama,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.