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 Bangladesh and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Stockholm 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 808 sounds with much patience.
I was there when Holger Czukay 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 Crispian St. Peters to the grime kids.
I played it at the Crocodile.
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 Radiopuhelimet. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The Durutti Column,
Eve St. Jones,
Brass Construction,
Groovy Waters,
Kango’s Stein Massive,
Alison Limerick,
Leonard Cohen,
Interpol,
The Litter,
Index,
The Star Department,
Kauko Röyhkä ja Narttu,
K-Klass,
Tears for Fears,
The American Breed,
The Happenings,
Jesper Dahlbäck,
Brick,
Art Ensemble Of Chicago,
Jacques Brel,
Ornette Coleman,
OOIOO,
Scion,
Freddie Wadling,
Alphaville,
Neu!,
Moebius,
The Fugs,
Don Cherry,
Mad Mike,
John Lydon,
Amazonics,
Con Funk Shun,
Beasts of Bourbon,
Ossler,
Manfred Mann's Earth Band,
Nick Cave & The Bad Seeds,
The Motions,
Theoretical Girls,
Yazoo,
Robert Wyatt,
Khruangbin,
Ten City,
Bill Wells,
a-ha,
Soul Sonic Force,
The Leaves,
Derrick May,
The Detroit Cobras,
Minutemen,
Kayak,
Rhythm & Sound,
Eric Dolphy,
Kevin Saunderson,
Soulsonic Force,
Deepchord,
Terry Callier,
the Soft Cell,
Slave,
Maurizio,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.