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 Grenada and from Tokyo.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Pharoah Sanders to the grunge kids.
I played it at the Hacienda.
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 Beau Brummels. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every X-Ray Spex 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Blossom Toes,
Jawbox,
The Grass Roots,
Angry Samoans,
Nation of Ulysses,
Bobbi Humphrey,
D'Angelo,
Avey Tare & Kría Brekkan,
Frankie Knuckles,
Oppenheimer Analysis,
The Stooges,
Buzzcocks,
Barclay James Harvest,
Soft Cell,
Lee Hazlewood,
Kango’s Stein Massive,
Agitation Free,
Mission of Burma,
Marshall Jefferson,
Monolake,
Chris Corsano,
Throbbing Gristle,
Gichy Dan,
Cabaret Voltaire,
T. Rex,
One Last Wish,
Ash Ra Tempel,
The Pop Group,
The Gap Band,
Rotary Connection,
Boredoms,
T.S.O.L.,
Organ,
Soft Machine,
Motorama,
The Fuzztones,
It's A Beautiful Day,
Gang Gang Dance,
Soulsonic Force,
Alton Ellis,
Warsaw,
DNA,
John Holt,
June of 44,
Matthew Halsall,
Deadbeat,
cv313,
Larry & the Blue Notes,
Schoolly D,
The Alarm Clocks,
Sonic Youth,
Nik Kershaw,
Public Enemy,
Dawn Penn,
Pylon,
Unrelated Segments,
Symarip,
FM Einheit,
The Smoke, The Smoke, The Smoke, The Smoke.
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.