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 Liechtenstein and from Seoul.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb 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 Juan Atkins to the grime 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 Jeff Mills. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal rap 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Saccharine Trust,
Barrington Levy,
Eddi Front,
Babytalk,
Godley & Creme,
T. Rex,
Morten Harket,
Unrelated Segments,
The Leaves,
The Five Americans,
The Standells,
Shuggie Otis,
Los Fastidios,
The Evens,
Bang on a Can All-Stars,
Fort Wilson Riot,
Neil Young,
Kaleidoscope,
The Divine Comedy,
AZ,
Marine Girls,
Rekid,
Livin' Joy,
Vaughan Mason & Crew,
Pharaoh Sanders and the Fire Engines,
Neil Young & Crazy Horse,
Selector Dub Narcotic,
Blake Baxter,
Echospace,
Fugazi,
Hashim,
Marmalade,
Agent Orange,
The Count Five,
Subhumans,
Swans,
PIL,
World's Most,
Tubeway Army,
Rowland S Howard / Lydia Lunch,
Kerri Chandler,
Gil Scott-Heron & Brian Jackson,
Theoretical Girls,
Angels of Light & Akron/Family,
The Men They Couldn't Hang,
Scion,
Sun City Girls,
Robert Wyatt,
Notorious BIG live in Amsterdam,
Nils Olav,
Model 500,
Camberwell Now,
Faust,
Eyeless In Gaza,
Accadde A,
The Beau Brummels,
Flipper,
Camron Feat. Memphis Bleek And Beenie Seigel,
Deutsch Amerikanische Freundschaft,
Larry & the Blue Notes,
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.