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 Lebanon and from Bologna.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 LL Cool J to the grime kids.
I played it at the Roxy.
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 Sonic Youth. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every R.M.O. 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar 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 mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
cv313,
Joe Finger,
Bizarre Inc.,
Throbbing Gristle,
Althea and Donna,
Beasts of Bourbon,
Fort Wilson Riot,
Essential Logic,
Joensuu 1685,
Arab on Radar,
Red Lorry Yellow Lorry,
Aural Exciters,
Wally Richardson,
Terrestrial Tones,
Neil Young,
Thinking Fellers Union Local 282,
Kas Product,
Rhythim Is Rhythim,
Eve St. Jones,
Camberwell Now,
The Doors,
John Cale,
June Days,
Thompson Twins,
Todd Rundgren,
Mission of Burma,
The Selecter,
Gichy Dan,
The Fortunes,
Camouflage,
Marshall Jefferson,
The Count Five,
The Smoke,
The Martian,
One Last Wish,
Ossler,
X-Ray Spex,
Swell Maps,
Niagra,
The Invisible,
Boogie Down Productions,
Eyeless In Gaza,
Fifty Foot Hose,
The Doobie Brothers,
Tommy Roe,
Lou Reed & John Cale,
Deepchord,
D'Angelo,
Pussy Galore,
Pierre Henry,
Sister Nancy,
DJ Sneak,
Amon Düül II,
The Zeros,
F. McDonald,
The Saints,
Delon & Dalcan,
The Young Rascals,
Kango’s Stein Massive,
Stetsasonic,
The Star Department, The Star Department, The Star Department, The Star Department.
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.