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 Antigua and from Johannesburg.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Manila and Bremen.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 The Move to the crunk 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 Bang on a Can All-Stars. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal grime 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 808 and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Pole,
Guru Guru,
Television Personalities,
Jawbox,
Porter Ricks,
The Monochrome Set,
Erykah Badu,
The Skatalites,
Colin Newman,
T.S.O.L.,
Rhythim Is Rhythim,
Flamin' Groovies,
Parry Music,
Stetsasonic,
The Real Kids,
Bauhaus,
FM Einheit,
Stockholm Monsters,
Teenage Jesus and the Jerks,
Marvin Gaye,
Lou Reed & Metallica,
Archie Shepp,
UT,
Suburban Knight,
The Barracudas,
Pierre Henry,
Harpers Bizarre,
Graham Central Station,
Terry Callier,
Black Sheep,
Kas Product,
Monolake,
Throbbing Gristle,
Brothers Johnson,
Carl Craig,
Unwound,
Roger Hodgson,
Matthew Bourne,
Richard Hell and the Voidoids,
Marc Almond,
the Germs,
Avey Tare's Slasher Flicks,
The Neon Judgement,
Orchestral Manoeuvres in the Dark,
Minor Threat,
The Remains,
The Royal Family And The Poor,
Pussy Galore,
Mission of Burma,
Thompson Twins,
The Pop Group,
The Cosmic Jokers,
Ken Boothe,
Röyhkä ja Rättö ja Lehtisalo,
Bill Wells,
Bluetip,
Skaos,
Young Marble Giants,
Amon Düül II,
Maleditus Sound,
The Sonics, The Sonics, The Sonics, The Sonics.
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.