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 Uzbekistan and from Delhi.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Tehran.
I'm losing my edge to the art-school Cairo 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 John Holt to the dance kids.
I played it at the Astoria.
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 Sandy B. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal rap 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu 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?
Neu!,
Art Ensemble Of Chicago,
Lizzy Mercier Descloux,
Max Romeo,
Underground Resistance,
Depeche Mode,
Kevin Saunderson,
Banda Bassotti,
Clear Light,
The Gladiators,
Von Mondo,
Deakin,
The Star Department,
Aural Exciters,
Reagan Youth,
DeepChord presents Echospace,
Eurythmics,
Soul Sonic Force,
MC5,
Strawberry Alarm Clock,
Teenage Jesus and the Jerks,
Pharaoh Sanders and the Fire Engines,
Mantronix,
Ossler,
Harmonia,
Little Man,
Fifty Foot Hose,
Stiv Bators,
Oppenheimer Analysis,
Jerry Gold Smith,
Pet Shop Boys,
The Dead C,
The Cosmic Jokers,
Hot Snakes,
Funky Four + One,
Suburban Knight,
Eric Dolphy,
Glenn Branca,
The Cramps,
Boogie Down Productions,
The Skatalites,
Absolute Body Control,
Spoonie Gee,
Richard Hell and the Voidoids,
Nirvana,
Malaria!,
Procol Harum,
Carl Craig,
The Cure,
The Moody Blues,
The Pop Group,
Crime,
Theoretical Girls,
Fear,
Sex Pistols,
A Flock of Seagulls,
Kauko Röyhkä ja Narttu,
Boz Scaggs,
FM Einheit,
The Real Kids,
Ponytail, Ponytail, Ponytail, Ponytail.
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.