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 Sri Lanka and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Madrid.
I'm losing my edge to the art-school Bremen 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 Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Yellowson to the techno 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 Connie Case. All the underground hits.
All Index tracks. I heard you have a vinyl of every Letta Mbulu 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls 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?
Lee Hazlewood,
Eve St. Jones,
the Sonics,
The Real Kids,
Flash Fearless,
Cameo,
Funky Four + One,
Q65,
Skarface,
N.O.R.E. Featuring Pharrell,
Harmonia,
Be Bop Deluxe,
Eurythmics,
Kings Of Tomorrow,
David McCallum,
Sad Lovers and Giants,
Black Bananas,
Unwound,
It's A Beautiful Day,
Jeff Mills,
Eric Dolphy,
Rekid,
Gian Franco Pienzio,
Clear Light,
Tommy Roe,
The Selecter,
The Slackers,
Pantaleimon,
Kool G Rap & DJ Polo,
The Mummies,
Mantronix,
Kas Product,
Albert Ayler,
Juan Atkins,
Electric Light Orchestra,
Moss Icon,
London Community Gospel Choir,
Hot Snakes,
The Cosmic Jokers,
Anakelly,
Gil Scott Heron,
Peter and Kerry,
Vaughan Mason & Crew,
Interpol,
The Pretty Things,
Nation of Ulysses,
Carl Craig,
The Monks,
Drive Like Jehu,
Freddie Wadling,
Danielle Patucci,
Technova,
The Fugs,
The Cowsills,
the Bar-Kays,
Arthur Verocai,
Pet Shop Boys,
Isaac Hayes,
The Motions,
Black Sheep,
Scott Walker,
Crispian St. Peters,
Dark Day, Dark Day, Dark Day, Dark Day.
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.