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 Rwanda and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1966 to 1978.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Bologna 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Subhumans to the rap 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 Henry Cow. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Pole,
The Moody Blues,
Aswad,
Angels of Light & Akron/Family,
John Holt,
Slick Rick,
The Grass Roots,
Rekid,
Sun Ra Arkestra,
Be Bop Deluxe,
Parry Music,
Echospace,
Altered Images,
Pantytec,
Gil Scott-Heron and Jamie xx,
Brass Construction,
Black Sheep,
Lou Reed,
Public Image Ltd.,
China Crisis,
Ossler,
Godley & Creme,
Jandek,
The Count Five,
Masters at Work,
F. McDonald,
T. Rex,
the Germs,
Idris Muhammad,
Bang On A Can,
Nik Kershaw,
Girls At Our Best!,
Leonard Cohen,
The Victims,
Alice Coltrane,
Deutsch Amerikanische Freundschaft,
Dual Sessions,
The Barracudas,
Circle Jerks,
Intrusion,
Negative Approach,
Moss Icon,
the Fania All-Stars,
Pere Ubu,
Vainqueur,
Khruangbin,
Lizzy Mercier Descloux,
Maleditus Sound,
Ultimate Spinach,
Eurythmics,
The Young Rascals,
Graham Central Station,
Delta 5,
Scott Walker,
Easy Going,
Josef K,
Kings Of Tomorrow,
Second Layer,
Scratch Acid,
Magma, Magma, Magma, Magma.
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.