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 Korea North and from London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Cairo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Bootsy's Rubber Band to the rock kids.
I played it at Trash.
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 New Order. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Wire,
Connie Case,
Eyeless In Gaza,
the Slits,
Avey Tare & Kría Brekkan,
Sun Ra Arkestra,
Gerry Rafferty,
Archie Shepp,
Panda Bear,
The Star Department,
Johnny Clarke,
Intrusion,
Franke,
The Electric Prunes,
Tubeway Army,
Accadde A,
Major Organ And The Adding Machine,
The Human League,
Scientists,
Pole,
Gil Scott Heron,
Roy Ayers Ubiquity,
Justin Hinds & The Dominoes,
Marc Almond,
Fad Gadget,
cv313,
The Slackers,
Oppenheimer Analysis,
Todd Terry,
Reagan Youth,
Mary Jane Girls,
Swell Maps,
Hardrive,
Kool Moe Dee,
The Divine Comedy,
Jesper Dahlbäck,
Avey Tare's Slasher Flicks,
Porter Ricks,
The Beau Brummels,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Mandrill,
Neil Young & Crazy Horse,
Junior Murvin,
DNA,
Magma,
Harry Pussy,
Visage,
Tommy Roe,
Quadrant,
Metal Thangz,
Cecil Taylor,
H. Thieme,
Soft Machine,
Grauzone,
Tim Buckley,
Swans,
Steve Hackett,
Judy Mowatt,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.