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 Armenia and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Glasgow 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Michelle Simonal to the grunge kids.
I played it at the Roxy.
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 Joyce Sims. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Byron Stingily,
Skarface,
The Last Poets,
48th St. Collective,
Ultravox,
Gregory Isaacs,
The Cure,
Prince Buster,
The Smoke,
The New Christs,
Nick Fraelich,
Gang of Four,
Crooked Eye,
Monolake,
Oneida,
Crispian St. Peters,
Johnny Osbourne,
The Evens,
Jandek,
Darondo,
Lalann,
Fat Boys,
The Fall,
Wighnomy Brothers & Robag Wruhme,
Sight & Sound,
Interpol,
Faust,
Rod Modell,
Roger Hodgson,
Lalo Schifrin,
Aaron Thompson,
Los Fastidios,
Carl Craig,
cv313,
Country Teasers,
Sonny Sharrock,
Vladislav Delay,
Eve St. Jones,
10cc,
Hashim,
Rapeman,
the Human League,
Cheater Slicks,
Lightning Bolt,
Junior Murvin,
Icehouse,
Tears for Fears,
Bush Tetras,
Louis and Bebe Barron,
Pole,
Audionom,
Talk Talk,
Section 25,
Shoche,
The Raincoats,
Orchestral Manoeuvres in the Dark,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.