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 Tanzania and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Lille 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 chamberlin 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 Grandmaster Flash to the grunge kids.
I played it at the Spitz.
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 Reagan Youth. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Talk Talk,
Matthew Halsall,
Letta Mbulu,
The Techniques,
Franke,
Monolake,
Mark Hollis,
Thompson Twins,
Blancmange,
James Chance & The Contortions,
Mission of Burma,
Radio Birdman,
Sam Rivers,
Wire,
The Tremeloes,
Louis and Bebe Barron,
Byron Stingily,
Nico,
Fifty Foot Hose,
Q65,
Piero Umiliani,
Jesper Dahlback,
Alison Limerick,
Eurythmics,
Kerrie Biddell,
Ornette Coleman,
Guru Guru,
T.S.O.L.,
Eddi Front,
Visage,
Flipper,
Zapp,
Groovy Waters,
Adolescents,
Jeru the Damaja,
Albert Ayler,
Chris & Cosey,
Suburban Knight,
Jimmy McGriff,
The Men They Couldn't Hang,
Slick Rick,
Rites of Spring,
Josef K,
Khruangbin,
Harpers Bizarre,
Japan,
Hasil Adkins,
Kool G Rap & DJ Polo,
Bluetip,
Orchestral Manoeuvres in the Dark,
Peter Gordon & Love of Life Orchestra,
Marmalade,
Audionom,
Harmonia,
Sexual Harrassment,
Thee Headcoats,
Unrelated Segments,
Quantec,
The Pop Group,
Matthew Bourne,
Neu!,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.