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 Venezuela and from London.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Tehran 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 linndrum 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 Unrelated Segments to the rap kids.
I played it at the Spitz.
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 Hashim. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
the Bar-Kays,
Warsaw,
Mandrill,
Siouxsie and the Banshees,
Susan Cadogan,
PIL,
Curtis Mayfield,
Blancmange,
The Dead C,
Wolf Eyes,
Metal Thangz,
The Chocolate Watch Band,
Selector Dub Narcotic,
Soulsonic Force,
Super Lover Cee & Casanova Rud,
Gerry Rafferty,
Hoover,
Brass Construction,
The Men They Couldn't Hang,
Heavy D & The Boyz,
Colin Newman,
Rekid,
Oblivians,
Harpers Bizarre,
Fort Wilson Riot,
Michelle Simonal,
Roy Ayers Ubiquity,
Trumans Water,
Echo & the Bunnymen,
Massinfluence,
Y Pants,
The Busters,
Can,
Half Japanese,
The United States of America,
Terror Squad Feat. Camron,
Cluster,
Goldenarms,
Orchestral Manoeuvres in the Dark,
Laurel Aitken,
Second Layer,
Neu!,
kango's stein massive,
Wire,
Jesper Dahlbäck,
The Fuzztones,
Jandek,
Rahsaan Roland Kirk,
Aural Exciters,
Surgeon,
Scan 7,
The Mummies,
Pharoah Sanders,
The Angels of Light,
Underground Resistance,
The Durutti Column,
Sunsets and Hearts,
T. Rex,
Japan,
K-Klass,
The Birthday Party,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.