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 Nepal and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1965 to 1973.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Philadelphia 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Lizzy Mercier Descloux to the grunge 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 Siglo XX. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Mo-Dettes,
Sugar Minott,
Neu!,
Newcleus,
Radiohead,
Mary Jane Girls,
The Cramps,
Franke,
The Knickerbockers,
Liaisons Dangereuses,
Half Japanese,
Rakim,
Television,
Throbbing Gristle,
Barry Ungar,
Amon Düül,
Subhumans,
Los Fastidios,
Ken Boothe,
cv313,
The Residents,
Laurel Aitken,
Sly & The Family Stone,
The Mighty Diamonds,
The Seeds,
Donny Hathaway,
The Gun Club,
Alphaville,
DeepChord presents Echospace,
Nils Olav,
Smog,
Procol Harum,
Lucky Dragons,
John Cale,
Traffic Nightmare,
Jerry Gold Smith,
Isaac Hayes,
Jeff Lynne,
Cecil Taylor,
Essential Logic,
Quadrant,
The Dead C,
Minnie Riperton,
Can,
Au Pairs,
Neil Young,
Wire,
Pussy Galore,
Altered Images,
Fluxion,
X-102,
Arab on Radar,
Young Marble Giants,
Grandmaster Flash and the Furious Five,
FM Einheit,
Audionom,
Jesper Dahlbäck,
Chrome,
Rites of Spring,
Monolake,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.