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 Italy and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Beijing and Beijing.
I'm losing my edge to the art-school Taipei 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 1979 at the first Second Layer practice in a loft in South 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 Robert Hood to the jazz kids.
I played it at the Hacienda.
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 Nils Olav. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Barbara Tucker 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 '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Urselle,
The Five Americans,
The Human League,
John Cale,
Hasil Adkins,
Art Ensemble Of Chicago,
Major Organ And The Adding Machine,
Be Bop Deluxe,
The Searchers,
Wire,
Kurtis Blow,
Eurythmics,
F. McDonald,
Joe Smooth,
Faust,
Fad Gadget,
Blancmange,
Nation of Ulysses,
Alphaville,
Slick Rick,
The Fire Engines,
Von Mondo,
Marmalade,
Mad Mike,
Swell Maps,
June of 44,
Stiv Bators,
Bill Wells,
Television,
Dead Boys,
Hardrive,
Loose Ends,
Kool G Rap & DJ Polo,
AZ,
Notorious BIG live in Amsterdam,
The Gories,
Talk Talk,
Lalann,
Archie Shepp,
Laurel Aitken,
Bush Tetras,
The Alarm Clocks,
Alice Coltrane,
Glenn Branca,
H. Thieme,
Pere Ubu,
Piero Umiliani,
Maurizio,
Magma,
Deakin,
Fear,
Liaisons Dangereuses,
Buzzcocks,
Soulsonic Force,
Quantec,
The Move,
Inner City,
Marc Almond,
Qualms,
Sun Ra,
ABBA,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.