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 Ecuador and from Calgary.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Accra and Glasgow.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes 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 Sonny Sharrock to the disco 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 The Stooges. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Dave Gahan,
Throbbing Gristle,
Nation of Ulysses,
Rapeman,
Sixth Finger,
Newcleus,
The Sisters of Mercy,
James White and The Blacks,
Basic Channel,
Grandmaster Flash,
Electric Prunes,
A Flock of Seagulls,
Spandau Ballet,
T. Rex,
John Lydon,
Easy Going,
Drive Like Jehu,
Peter Gordon & Love of Life Orchestra,
Junior Murvin,
Gong,
Liliput,
the Human League,
Laurel Aitken,
Interpol,
Johnny Clarke,
Judy Mowatt,
Silicon Teens,
Anakelly,
ABC,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Jesus and Mary Chain,
Accadde A,
The Fugs,
The Cowsills,
Graham Central Station,
Los Fastidios,
Funkadelic,
Blake Baxter,
Bush Tetras,
The Gun Club,
Aaron Thompson,
The Barracudas,
Jerry's Kids,
Fat Boys,
Roxy Music,
Excepter,
Cluster,
Eden Ahbez,
The Cure,
Visionaries,LMNO, T- Love & Iriscience,
Animal Collective,
Henry Cow,
Flipper,
Blossom Toes,
Hasil Adkins,
June Days,
The Zeros,
Sly & The Family Stone,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.