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 Netherlands and from Houston.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator 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 Adolescents to the grime kids.
I played it at the Astoria.
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 Byron Stingily. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Don Cherry,
Skriet,
Anakelly,
The Fugs,
Masters at Work,
World's Most,
Freddie Wadling,
Los Fastidios,
The Mummies,
Aaron Thompson,
a-ha,
Strawberry Alarm Clock,
Cabaret Voltaire,
Alphaville,
Iggy Pop,
Yazoo,
Chrome,
Soulsonic Force,
Alison Limerick,
Manfred Mann's Earth Band,
Lakeside,
KRS-One,
Donny Hathaway,
Howard Jones,
Cymande,
Procol Harum,
Camouflage,
The Motions,
Adolescents,
The Gories,
June Days,
Henry Cow,
The United States of America,
Röyhkä ja Rättö ja Lehtisalo,
Moby Grape,
Lou Reed & John Cale,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Warren Ellis,
Althea and Donna,
Lungfish,
Avey Tare's Slasher Flicks,
Mark Hollis,
Boredoms,
The Divine Comedy,
The Litter,
The Detroit Cobras,
Bobbi Humphrey,
Jandek,
Radiohead,
Scrapy,
Country Joe & The Fish,
Letta Mbulu,
Sonny Sharrock,
Sex Pistols,
the Human League,
Make Up,
The Music Machine,
Teenage Jesus and the Jerks,
Wolf Eyes,
Jeff Lynne,
Japan, Japan, Japan, Japan.
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.