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 Cape Verde and from Stockholm.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Woodstock 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Crooked Eye to the punk kids.
I played it at the 40 Watt.
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 Moebius. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every The Count Five 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen 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?
Radio Birdman,
Rapeman,
Moby Grape,
The Offenders,
B.T. Express,
Parry Music,
DNA,
Lungfish,
Alphaville,
The Jesus and Mary Chain,
Minny Pops,
Robert Görl,
Sonny Sharrock,
The Index,
Qualms,
Spandau Ballet,
Kauko Röyhkä ja Narttu,
Sister Nancy,
DJ Style,
Los Fastidios,
Sparks,
Jacques Brel,
Suicide,
Andrew Ashong & Theo Parrish,
Trumans Water,
H. Thieme,
Leonard Cohen,
The Associates,
Lyres,
Nation of Ulysses,
Bootsy Collins,
The Men They Couldn't Hang,
The Gun Club,
Basic Channel,
Roger Hodgson,
Joyce Sims,
Jeru the Damaja,
Visage,
Arcadia,
Sugar Minott,
The Fire Engines,
Ralphi Rosario,
The Cowsills,
The Modern Lovers,
Thinking Fellers Union Local 282,
Audionom,
Dorothy Ashby,
Television Personalities,
Orchestral Manoeuvres in the Dark,
Kenny Larkin,
Monks,
Nils Olav,
The Doors,
Camberwell Now,
Scion,
Second Layer,
The Divine Comedy,
Strawberry Alarm Clock,
Skaos,
Kango’s Stein Massive,
The Sisters of Mercy,
Ash Ra Tempel,
Yellowson,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.