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 Iran and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Bremen 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 Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Marshall Jefferson to the grime 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 Barclay James Harvest. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Public Enemy,
Godley & Creme,
Accadde A,
Heaven 17,
Pussy Galore,
Susan Cadogan,
X-101,
Echospace,
Hardrive,
Kerrie Biddell,
Agent Orange,
Ohio Players,
Harmonia,
Peter Gordon & Love of Life Orchestra,
New York Dolls,
Sight & Sound,
Minny Pops,
Alton Ellis,
Visionaries,LMNO, T- Love & Iriscience,
The Techniques,
Wasted Youth,
The Star Department,
Scott Walker,
Depeche Mode,
Intrusion,
Roy Ayers,
The Misunderstood,
Moebius,
Clear Light,
Flash Fearless,
Steve Hackett,
Avey Tare & Kría Brekkan,
Can,
Robert Hood,
Tubeway Army,
Idris Muhammad,
Nation of Ulysses,
Drexciya,
Camberwell Now,
Fear,
The Durutti Column,
Guru Guru,
Public Image Ltd.,
Nils Olav,
Anthony Braxton,
Graham Central Station,
Ash Ra Tempel,
Deadbeat,
John Holt,
Angels of Light & Akron/Family,
Electric Light Orchestra,
Black Moon,
Chris & Cosey,
Young Marble Giants,
MDC,
Minor Threat,
Unwound,
Visage,
Bobby Womack,
The Sonics,
Organ,
The United States of America, The United States of America, The United States of America, The United States of America.
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.