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 Afghanistan and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1974.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Lille 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 chamberlin 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 Khruangbin to the grime kids.
I played it at the Troubador.
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 Throbbing Gristle. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal funk 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 a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Moss Icon,
Lalo Schifrin,
Grandmaster Flash,
De La Soul & Jungle Brothers,
Magazine,
Sandy B,
The American Breed,
Theoretical Girls,
Al Stewart,
The Durutti Column,
the Normal,
Index,
Neu!,
Bill Near,
Althea and Donna,
Bang On A Can,
T. Rex,
The Slits,
Reagan Youth,
The Misunderstood,
Can,
The Angels of Light,
John Coltrane,
Skaos,
Lee Hazlewood,
Animal Collective,
The Sound,
Groovy Waters,
Major Organ And The Adding Machine,
Das Ding,
New Order,
Jeff Mills,
Radio Birdman,
Ossler,
Nirvana,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Vaughan Mason & Crew,
Quantec,
Basic Channel,
Bronski Beat,
Siouxsie and the Banshees,
Eurythmics,
Eric Dolphy,
Eli Mardock,
the Slits,
the Sonics,
Shoche,
The Buckinghams,
Pantaleimon,
Johnny Osbourne,
Fat Boys,
Wighnomy Brothers & Robag Wruhme,
Rakim,
Peter & Gordon,
The Leaves,
The Index,
Livin' Joy,
The Count Five,
Letta Mbulu,
Second Layer,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.