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 Latvia and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Beijing 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 snare sounds with much patience.
I was there when Lou Reed 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 Underground Resistance to the electroclash kids.
I played it at the Crocodile.
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 Moss Icon. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Joensuu 1685,
Inner City,
Kauko Röyhkä ja Narttu,
Richard Hell and the Voidoids,
Franke,
Albert Ayler,
The Sonics,
Jacob Miller,
Wally Richardson,
Tropical Tobacco,
Louis and Bebe Barron,
Tom Boy,
Fort Wilson Riot,
Alice Coltrane,
The Neon Judgement,
Blossom Toes,
The Buckinghams,
F. McDonald,
Nils Olav,
Ludus,
Ituana,
Lonnie Liston Smith,
Nation of Ulysses,
Ohio Players,
John Lydon,
Sarah Menescal,
Soulsonic Force,
Harry Pussy,
Boz Scaggs,
Crash Course in Science,
Art Ensemble Of Chicago,
Avey Tare & Kría Brekkan,
Guru Guru,
Fela Kuti,
Kenny Larkin,
Minnie Riperton,
New Age Steppers,
Neil Young & Crazy Horse,
The Chocolate Watch Band,
Radio Birdman,
Intrusion,
Michelle Simonal,
cv313,
Andrew Hill,
Make Up,
Bluetip,
Sonic Youth,
Cymande,
Quando Quango,
the Bar-Kays,
Mission of Burma,
The Alarm Clocks,
Kool Moe Dee,
Eli Mardock,
Patti Smith,
Pussy Galore,
Lyres,
Aaron Thompson,
Country Teasers,
The Young Rascals,
Banda Bassotti,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.