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 Turkmenistan and from Delhi.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Columbus 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 Holger Czukay 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 Spoonie Gee to the dance kids.
I played it at Trash.
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 Gong. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Suicide,
the Normal,
The Toasters,
Jeru the Damaja,
Michelle Simonal,
Amon Düül,
Reuben Wilson,
Gastr Del Sol,
The Cosmic Jokers,
UT,
Y Pants,
Ken Boothe,
Mary Jane Girls,
The Peanut Butter Conspiracy,
Pagans,
Barry Ungar,
Talk Talk,
The Young Rascals,
Fort Wilson Riot,
Mission of Burma,
Isaac Hayes,
Brothers Johnson,
The Electric Prunes,
Liliput,
D'Angelo,
Ash Ra Tempel,
Radio Birdman,
Bill Near,
Negative Approach,
Eric Dolphy,
Röyhkä ja Rättö ja Lehtisalo,
KRS-One,
Avey Tare's Slasher Flicks,
Aswad,
Urselle,
Delon & Dalcan,
The Five Americans,
The Busters,
Jimmy McGriff,
Max Romeo,
Echospace,
Aaron Thompson,
10cc,
Basic Channel,
Rites of Spring,
Gian Franco Pienzio,
Connie Case,
Jerry's Kids,
Peter & Gordon,
Eve St. Jones,
Jerry Gold Smith,
Monks,
Rufus Thomas,
The Jesus and Mary Chain,
Dark Day,
the Soft Cell,
Johnny Osbourne,
Henry Cow,
Procol Harum,
John Lydon,
FM Einheit,
Black Pus,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.