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 Ethiopia and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Cairo and Glasgow.
I'm losing my edge to the art-school Lagos 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 DJ Sneak to the grime kids.
I played it at Trash.
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 Martian. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
X-102,
John Lydon,
Barbara Tucker,
Captain Beefheart & His Magic Band,
Lebanon Hanover,
Lalo Schifrin,
Heavy D & The Boyz,
Sound Behaviour,
Jacques Brel,
Little Man,
Television Personalities,
Amon Düül II,
Nas,
Liliput,
A Flock of Seagulls,
Harpers Bizarre,
Ken Boothe,
Dual Sessions,
London Community Gospel Choir,
Gil Scott-Heron & Brian Jackson,
Kas Product,
Sam Rivers,
The Selecter,
Juan Atkins,
Marmalade,
Oppenheimer Analysis,
Eden Ahbez,
The Black Dice,
Fear,
Pet Shop Boys,
Lafayette Afro Rock Band,
Harry Pussy,
The United States of America,
Pharaoh Sanders and the Fire Engines,
Can,
Banda Bassotti,
L. Decosne,
Lou Christie,
Wighnomy Brothers & Robag Wruhme,
Hoover,
Roy Ayers,
Nils Olav,
Public Enemy,
Altered Images,
Deutsch Amerikanische Freundschaft,
The Smoke,
John Cale,
Tres Demented,
The Royal Family And The Poor,
Agitation Free,
E-Dancer,
Matthew Halsall,
Oneida,
Black Sheep,
Delta 5,
Tropical Tobacco,
Brick,
Sällskapet,
Niagra,
Cluster, Cluster, Cluster, Cluster.
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.