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 Congo and from Lille.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Jesper Dahlback to the grunge kids.
I played it at the 40 Watt.
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 Swell Maps. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Tomorrow,
the Slits,
Funky Four + One,
Tears for Fears,
The Motions,
Au Pairs,
DeepChord presents Echospace,
The West Coast Pop Art Experimental Band,
Aural Exciters,
Red Lorry Yellow Lorry,
Liliput,
Japan,
Roxy Music,
Lebanon Hanover,
Severed Heads,
Excepter,
Joe Smooth,
The Saints,
Stetsasonic,
Chrome,
The Move,
Faraquet,
Jacques Brel,
New Order,
Sarah Menescal,
Idris Muhammad,
Roxette,
Teenage Jesus and the Jerks,
Mark Hollis,
Fear,
D'Angelo,
Amon Düül II,
China Crisis,
Archie Shepp,
Alice Coltrane,
Blancmange,
Ituana,
Altered Images,
Crime,
The Sonics,
The Human League,
the Bar-Kays,
Flipper,
The Smiths,
Cluster,
Urselle,
The Doors,
Orchestral Manoeuvres in the Dark,
Lightning Bolt,
Bang On A Can,
Kings Of Tomorrow,
The Gap Band,
Model 500,
Pole,
Marcia Griffiths,
Cal Tjader,
David Axelrod,
Marine Girls,
The Mojo Men,
Los Fastidios,
The Divine Comedy,
Chris & Cosey,
Index,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.