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 Mozambique and from Paris.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Calgary and Jakarta.
I'm losing my edge to the art-school Bremen 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 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 The Knickerbockers to the rap kids.
I played it at the 40 Watt.
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 Pierre Henry. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Organ 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Ten City,
The Mighty Diamonds,
T.S.O.L.,
Gastr Del Sol,
AZ,
DNA,
Jerry Gold Smith,
Eric B and Rakim,
Boredoms,
Wire,
Laurel Aitken,
The Fire Engines,
Jeff Lynne,
Throbbing Gristle,
The Offenders,
Nation of Ulysses,
David Bowie,
Man Eating Sloth,
Warren Ellis,
Flamin' Groovies,
Donny Hathaway,
Eyeless In Gaza,
Amazonics,
Japan,
Visage,
Super Lover Cee & Casanova Rud,
Alphaville,
Grauzone,
Morten Harket,
Moby Grape,
Unwound,
Gichy Dan,
Dennis Brown,
Terry Callier,
Stiv Bators,
Andrew Ashong & Theo Parrish,
Todd Rundgren,
Dual Sessions,
Rowland S Howard / Lydia Lunch,
The Fall,
Roy Ayers,
The Birthday Party,
Qualms,
The Sound,
Kenny Larkin,
Hasil Adkins,
The Martian,
Sly & The Family Stone,
UT,
Crooked Eye,
Johnny Clarke,
Nik Kershaw,
The Gun Club,
Monks,
Pere Ubu,
Eve St. Jones,
Television,
D'Angelo,
Derrick May,
Joyce Sims,
The Happenings,
The Techniques,
Index, Index, Index, Index.
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.