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 Seychelles and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Toronto 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Tom Boy to the electroclash kids.
I played it at Cafe Wha.
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 kango's stein massive. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal crunk 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 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 Strawberry Alarm Clock record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Qualms,
Wire,
Motorama,
R.M.O.,
The Remains,
Negative Approach,
Charles Mingus,
Bill Wells,
Quantec,
Avey Tare's Slasher Flicks,
The Busters,
Robert Hood,
Peter and Kerry,
Barclay James Harvest,
Quando Quango,
Derrick Morgan,
Harmonia,
the Fania All-Stars,
Ronnie Foster,
Siouxsie and the Banshees,
Jawbox,
Supertramp,
Barry Ungar,
Magma,
Jeru the Damaja,
Symarip,
Donald Byrd,
Porter Ricks,
Minutemen,
Lebanon Hanover,
Barbara Tucker,
June Days,
Cabaret Voltaire,
Eyeless In Gaza,
Absolute Body Control,
The Fuzztones,
Vaughan Mason & Crew,
De La Soul & Jungle Brothers,
The Grass Roots,
The Doors,
Sister Nancy,
Pet Shop Boys,
Marc Almond,
Terry Callier,
Henry Cow,
Dorothy Ashby,
Rhythm & Sound,
Shoche,
The Mummies,
Average White Band,
Deepchord,
Flash Fearless,
Mr. Review,
Deakin,
Bobby Hutcherson,
Lou Reed & John Cale,
The Monochrome Set,
Clear Light,
Andrew Ashong & Theo Parrish,
Faraquet,
The Last Poets,
Fugazi, Fugazi, Fugazi, Fugazi.
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.