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 Yemen and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1975.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 Banda Bassotti to the punk kids.
I played it at the Crocodile.
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 Kerrie Biddell. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Piero Umiliani 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
John Cale,
Cluster,
Basic Channel,
R.M.O.,
The Happenings,
K-Klass,
Archie Shepp,
Sarah Menescal,
E-Dancer,
Dark Day,
Accadde A,
Siouxsie and the Banshees,
Andrew Hill,
Jerry's Kids,
Motorama,
Wolf Eyes,
Eric B and Rakim,
Traffic Nightmare,
Selector Dub Narcotic,
The Fire Engines,
Sällskapet,
Rotary Connection,
Underground Resistance,
Massinfluence,
Fluxion,
Mary Jane Girls,
La Düsseldorf,
Anthony Braxton,
Byron Stingily,
Marmalade,
The Mummies,
The Stooges,
Slave,
The Divine Comedy,
Tears for Fears,
Ohio Players,
Echospace,
T.S.O.L.,
Eric Copeland,
Fad Gadget,
Brothers Johnson,
Rufus Thomas,
Nation of Ulysses,
Kings Of Tomorrow,
Peter and Kerry,
The Birthday Party,
Essential Logic,
the Sonics,
Fela Kuti,
Kool Moe Dee,
Alison Limerick,
Nick Fraelich,
Crooked Eye,
Sound Behaviour,
Urselle,
Gong,
Sun City Girls,
Barry Ungar,
Little Man,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.