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 New Zealand and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Portland and Edmonton.
I'm losing my edge to the art-school Tehran 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 Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Matthew Bourne to the jazz 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 The Victims. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Mantronix,
Tom Boy,
Al Stewart,
T.S.O.L.,
Grauzone,
Gichy Dan,
Gang Gang Dance,
Vaughan Mason & Crew,
MC5,
Bizarre Inc.,
Mary Jane Girls,
Lou Reed & John Cale,
Jesper Dahlbäck,
Gian Franco Pienzio,
Model 500,
Cluster,
The Motions,
Animal Collective,
John Lydon,
Tomorrow,
The Standells,
Bootsy Collins,
Chris & Cosey,
DJ Sneak,
Slick Rick,
Main Source,
Sam Rivers,
Minutemen,
The Tremeloes,
Sound Behaviour,
Eric Dolphy,
X-102,
Rakim,
The Knickerbockers,
The Dead C,
The Beau Brummels,
Donny Hathaway,
Colin Newman,
John Foxx,
Scrapy,
Echospace,
Juan Atkins,
Gil Scott-Heron & Brian Jackson,
The Star Department,
A Flock of Seagulls,
Intrusion,
Motorama,
Kaleidoscope,
Excepter,
Bronski Beat,
Erykah Badu,
CMW,
B.T. Express,
The Pop Group,
Con Funk Shun,
PIL,
Matthew Halsall,
The Smiths,
The Neon Judgement,
Stiv Bators,
Grandmaster Flash,
Warsaw,
Unrelated Segments,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.