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 Chad and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1965 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Stockholm 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 snare 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 Nick Fraelich to the rap 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 Susan Cadogan. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Section 25 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
This Heat,
Banda Bassotti,
Delon & Dalcan,
the Sonics,
The Gories,
Country Teasers,
Piero Umiliani,
Scion,
Kerrie Biddell,
Notorious BIG live in Amsterdam,
The Birthday Party,
Warren Ellis,
Slick Rick,
Robert Görl,
Skaos,
Adolescents,
Marvin Gaye,
Drive Like Jehu,
The Offenders,
Hardrive,
Yazoo,
Agent Orange,
Ultra Naté,
Sugar Minott,
Panda Bear,
Depeche Mode,
JFA,
Rotary Connection,
Q65,
Japan,
Dave Gahan,
Spandau Ballet,
Cluster,
Rowland S Howard / Lydia Lunch,
Moss Icon,
Major Organ And The Adding Machine,
Jeru the Damaja,
Bang on a Can All-Stars,
Jeff Mills,
Sly & The Family Stone,
Isaac Hayes,
Liliput,
Ultravox,
Altered Images,
the Fania All-Stars,
Sound Behaviour,
Darondo,
Mars,
China Crisis,
Notorious Big And Bone Thugs,
Barry Ungar,
Interpol,
Sam Rivers,
Quando Quango,
Ludus,
John Holt,
Art Ensemble Of Chicago,
Metal Thangz,
Visionaries,LMNO, T- Love & Iriscience,
The Associates,
The Sisters of Mercy,
Robert Hood,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.