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 Pakistan and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Milan and Madrid.
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 808 sounds with much patience.
I was there when Robert Palmer 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 Swans to the electroclash 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 Bobbi Humphrey. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Sly & The Family Stone,
Gregory Isaacs,
Archie Shepp,
Kerrie Biddell,
Public Image Ltd.,
Half Japanese,
Black Moon,
Derrick May,
Eve St. Jones,
Lafayette Afro Rock Band,
CMW,
Shoche,
Chrome,
The Mighty Diamonds,
Amon Düül II,
Newcleus,
DNA,
Kango’s Stein Massive,
Moebius,
Ralphi Rosario,
Alphaville,
Cal Tjader,
Fugazi,
Darondo,
Strawberry Alarm Clock,
Bob Dylan,
Surgeon,
Circle Jerks,
Sexual Harrassment,
Cymande,
The Mojo Men,
EPMD,
Deakin,
Rufus Thomas,
Arab on Radar,
Intrusion,
Blancmange,
cv313,
The Chocolate Watch Band,
The Sisters of Mercy,
Kauko Röyhkä ja Narttu,
Dead Boys,
the Bar-Kays,
Sparks,
Jesper Dahlbäck,
In Retrospect,
Matthew Bourne,
Rapeman,
Black Bananas,
Faraquet,
Echo & the Bunnymen,
Gang Starr,
Sarah Menescal,
The Angels of Light,
Matthew Halsall,
The Walker Brothers,
The Young Rascals,
Visionaries,LMNO, T- Love & Iriscience,
Eric Copeland,
Arthur Verocai,
June of 44, June of 44, June of 44, June of 44.
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.