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 Albania and from Delhi.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Edmonton 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 Josef K practice in a loft in Edinburgh.
I was working on the guitar 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 Grandmaster Flash to the electroclash kids.
I played it at the Spitz.
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 The Buckinghams. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Pet Shop Boys record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Popol Vuh,
Nico,
Michelle Simonal,
Dead Boys,
The Dave Clark Five,
The Vogues,
Tears for Fears,
Beasts of Bourbon,
The Moleskins,
The Detroit Cobras,
Gichy Dan,
Scott Walker,
Kevin Saunderson,
Fear,
The Seeds,
The Gap Band,
John Holt,
Robert Hood,
Slick Rick,
The Barracudas,
Josef K,
The Doobie Brothers,
Supertramp,
The Smiths,
Janne Schatter,
John Cale,
Half Japanese,
Sam Rivers,
Rahsaan Roland Kirk,
The United States of America,
Bobby Sherman,
Hashim,
Fugazi,
Traffic Nightmare,
Shoche,
Crime,
Jawbox,
Dennis Brown,
48th St. Collective,
Public Image Ltd.,
Blake Baxter,
Leonard Cohen,
F. McDonald,
Echo & the Bunnymen,
Camron Feat. Memphis Bleek And Beenie Seigel,
cv313,
Wolf Eyes,
Bang On A Can,
Fela Kuti,
Johnny Osbourne,
Audionom,
The Star Department,
Boredoms,
Simply Red,
These Immortal Souls,
New Order,
Sugar Minott,
Rosa Yemen,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.