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 Armenia and from Glasgow.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Milan 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 The Gap Band to the grunge kids.
I played it at the Crocodile.
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 Matthew Bourne. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Magazine 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
DJ Style,
The Fortunes,
Terry Callier,
Infiniti,
Drexciya,
Bauhaus,
Barry Ungar,
Quando Quango,
Avey Tare & Kría Brekkan,
Electric Light Orchestra,
Henry Cow,
Cluster,
Lucky Dragons,
Rakim,
Major Organ And The Adding Machine,
The Barracudas,
Buzzcocks,
The Mummies,
Ituana,
The Techniques,
Intrusion,
Eurythmics,
The Monks,
Byron Stingily,
Delon & Dalcan,
Mars,
The Wake,
Eden Ahbez,
Chris & Cosey,
Curtis Mayfield,
Kings Of Tomorrow,
Roy Ayers,
Supertramp,
ABC,
Chris Corsano,
Maleditus Sound,
Röyhkä ja Rättö ja Lehtisalo,
Mark Hollis,
Shoche,
Lizzy Mercier Descloux,
Echospace,
Marmalade,
Girls At Our Best!,
Alphaville,
Blancmange,
Minutemen,
Chrome,
Dawn Penn,
Fat Boys,
Rapeman,
Visionaries,LMNO, T- Love & Iriscience,
Jeru the Damaja,
Pet Shop Boys,
Sandy B,
Jerry Gold Smith,
The Martian,
Johnny Osbourne,
Slave,
Gil Scott-Heron & Brian Jackson,
Black Pus,
Royal Trux,
Sex Pistols,
Bob Dylan,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.