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 Iceland and from Mexico City.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Milan and Houston.
I'm losing my edge to the art-school Toronto 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 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 The Wake to the techno 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 The Fire Engines. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every The Moleskins 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro 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 mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
The Selecter,
Leonard Cohen,
The Doors,
Selector Dub Narcotic,
Bobby Womack,
Sly & The Family Stone,
Bad Manners,
Toni Rubio,
The Modern Lovers,
kango's stein massive,
Larry & the Blue Notes,
Albert Ayler,
Colin Newman,
Neil Young,
Talk Talk,
Amon Düül II,
Babytalk,
The Mummies,
Frankie Knuckles,
The Evens,
Das Ding,
The Beau Brummels,
Lindisfarne,
Roy Ayers Ubiquity,
Gabor Szabo,
Oneida,
The Cosmic Jokers,
Motorama,
David McCallum,
Bobbi Humphrey,
Mark Hollis,
Tim Buckley,
Lyres,
Outsiders,
T. Rex,
The Motions,
Kenny Larkin,
K-Klass,
DeepChord presents Echospace,
John Holt,
Flash Fearless,
Dawn Penn,
Blancmange,
Jesper Dahlbäck,
Joe Finger,
Siglo XX,
Shuggie Otis,
Popol Vuh,
Hashim,
Lee Hazlewood,
OOIOO,
Alison Limerick,
Sight & Sound,
Eddi Front,
The Cramps,
Neil Young & Crazy Horse,
The Golliwogs,
Roxette,
Kings Of Tomorrow,
Japan,
Youth Brigade,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.