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 Laos and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Glasgow 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Dual Sessions to the rap kids.
I played it at the Astoria.
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 Albert Ayler. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Youth Brigade,
Traffic Nightmare,
Trumans Water,
Organ,
Blossom Toes,
F. McDonald,
Bad Manners,
Carl Craig,
Television Personalities,
Neu!,
Be Bop Deluxe,
Anakelly,
The Five Americans,
Mission of Burma,
Crooked Eye,
Fugazi,
Lebanon Hanover,
Stockholm Monsters,
The Move,
Whodini,
James Chance & The Contortions,
Pulsallama,
Lungfish,
Jeru the Damaja,
Marc Almond,
Yazoo,
DNA,
Flamin' Groovies,
The Toasters,
Easy Going,
Angry Samoans,
the Bar-Kays,
Kerri Chandler,
Morten Harket,
Toni Rubio,
Procol Harum,
The Walker Brothers,
Model 500,
The Cure,
Gastr Del Sol,
Rod Modell,
Kool G Rap & DJ Polo,
Maurizio,
The Angels of Light,
Absolute Body Control,
Tomorrow,
Quadrant,
Terry Callier,
Basic Channel,
The Invisible,
Lightning Bolt,
Ronnie Foster,
Kango’s Stein Massive,
Subhumans,
Laurel Aitken,
Darondo,
Robert Wyatt,
Prince Buster,
Erykah Badu,
Harmonia,
Rakim,
Fat Boys,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life 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.