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 Korea South and from Spokane.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bologna and Manchester.
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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer 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 Hasil Adkins to the techno 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 Pussy Galore. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Warren Ellis 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Pere Ubu,
The Mojo Men,
Shoche,
Kenny Larkin,
Andrew Hill,
the Swans,
Major Organ And The Adding Machine,
Easy Going,
Camberwell Now,
Ultravox,
Schoolly D,
Art Ensemble Of Chicago,
Alphaville,
Sound Behaviour,
Television Personalities,
Bob Dylan,
Brick,
Flash Fearless,
F. McDonald,
Morten Harket,
Khruangbin,
Blossom Toes,
Nation of Ulysses,
Lightning Bolt,
The Seeds,
the Germs,
The Divine Comedy,
The Trojans,
Moss Icon,
Eve St. Jones,
JFA,
Donald Byrd,
David Axelrod,
Visionaries,LMNO, T- Love & Iriscience,
Sixth Finger,
Notorious Big And Bone Thugs,
The Wake,
The Modern Lovers,
Soft Machine,
China Crisis,
X-Ray Spex,
Blake Baxter,
Smog,
Lower 48,
Franke,
Tom Boy,
Peter Gordon & Love of Life Orchestra,
Qualms,
The Human League,
Guru Guru,
Kevin Saunderson,
Underground Resistance,
Isaac Hayes,
KRS-One,
Jerry's Kids,
Bluetip,
The Black Dice,
The Dead C,
Desert Stars,
Lalo Schifrin,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.