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 Denmark and from Lyon.
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 Stockholm and Manila.
I'm losing my edge to the art-school Beijing 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 808 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 Eyeless In Gaza to the rock kids.
I played it at CBGB's.
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 London Community Gospel Choir. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions 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?
Kool Moe Dee,
Ronan,
The Durutti Column,
Oppenheimer Analysis,
Alice Coltrane,
Drive Like Jehu,
Ice-T,
Massinfluence,
Rowland S Howard / Lydia Lunch,
Surgeon,
Bobby Hutcherson,
The Buckinghams,
China Crisis,
Spoonie Gee,
Strawberry Alarm Clock,
Organ,
New York Dolls,
The Fall,
Gil Scott-Heron and Jamie xx,
Marine Girls,
Sarah Menescal,
a-ha,
Cluster,
Cameo,
Cabaret Voltaire,
Avey Tare & Kría Brekkan,
X-Ray Spex,
The Young Rascals,
Johnny Clarke,
Wasted Youth,
Crash Course in Science,
La Düsseldorf,
Yazoo,
June of 44,
Sixth Finger,
Nik Kershaw,
Scrapy,
Kauko Röyhkä ja Narttu,
Joy Division,
The Seeds,
Kurtis Blow,
D'Angelo,
Hashim,
Siouxsie and the Banshees,
Andrew Ashong & Theo Parrish,
Jandek,
Joensuu 1685,
Dave Gahan,
Mars,
Terry Callier,
Electric Light Orchestra,
Interpol,
Pet Shop Boys,
8 Eyed Spy,
ABBA,
Faust,
Panda Bear,
DNA,
Eyeless In Gaza,
Parry Music, Parry Music, Parry Music, Parry Music.
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.