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 Benin and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1965 to 1972.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Manila 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Drive Like Jehu to the crunk kids.
I played it at the Troubador.
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 Dave Gahan. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Can,
Gian Franco Pienzio,
Gabor Szabo,
Rahsaan Roland Kirk,
Bluetip,
Fad Gadget,
Minutemen,
Sonny Sharrock,
Negative Approach,
Jandek,
Bill Wells,
Supertramp,
Maurizio,
Moebius,
The Music Machine,
Lower 48,
Reuben Wilson,
Yellowson,
Quadrant,
Sonic Youth,
The Mighty Diamonds,
Eurythmics,
FM Einheit,
The Names,
The Dirtbombs,
Jeru the Damaja,
The Leaves,
Sunsets and Hearts,
Scratch Acid,
The Walker Brothers,
Gichy Dan,
Janne Schatter,
Crime,
Cecil Taylor,
Con Funk Shun,
Warsaw,
Tres Demented,
Rapeman,
Toni Rubio,
Ken Boothe,
The Trojans,
James White and The Blacks,
Amazonics,
Idris Muhammad,
Khruangbin,
Scott Walker,
Lebanon Hanover,
Whodini,
Dead Boys,
Iggy Pop,
Josef K,
The Alarm Clocks,
Warren Ellis,
The Moody Blues,
The Five Americans,
Sandy B,
Bobby Byrd,
Nils Olav,
the Normal,
Camouflage, Camouflage, Camouflage, Camouflage.
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.