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 Somalia and from Portland.
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 1974.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Delhi 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 organ 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 Morten Harket to the dance 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 Lou Reed & John Cale. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
DeepChord presents Echospace,
Orchestral Manoeuvres in the Dark,
Young Marble Giants,
Chrome,
Jandek,
Can,
Tommy Roe,
Sandy B,
Erasure,
La Düsseldorf,
Lindisfarne,
Letta Mbulu,
Public Enemy,
10cc,
Angels of Light & Akron/Family,
Joey Negro,
Rites of Spring,
Anthony Braxton,
Suburban Knight,
Ronnie Foster,
Connie Case,
Freddie Wadling,
Eden Ahbez,
Johnny Osbourne,
Masters at Work,
Jesper Dahlback,
The Star Department,
James White and The Blacks,
DJ Sneak,
Audionom,
Jeff Lynne,
Rod Modell,
Bizarre Inc.,
Shuggie Otis,
The Sound,
The Jesus and Mary Chain,
Crash Course in Science,
Barbara Tucker,
Talk Talk,
The Fire Engines,
Index,
The Music Machine,
Marshall Jefferson,
Carl Craig,
The Remains,
The Mummies,
John Cale,
Circle Jerks,
Television,
Parry Music,
Black Pus,
In Retrospect,
Bobby Hutcherson,
Scion,
The Stooges,
Franke,
the Bar-Kays,
Sällskapet,
Model 500,
CMW,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.