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 Lithuania and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1975.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Stockholm 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 organ sounds with much patience.
I was there when Lou Reed 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 The Fire Engines to the electroclash 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 The Smoke. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Sam Rivers,
De La Soul & Jungle Brothers,
Dual Sessions,
Delon & Dalcan,
Heaven 17,
Oppenheimer Analysis,
The Kinks,
the Germs,
Electric Light Orchestra,
T.S.O.L.,
Infiniti,
Marcia Griffiths,
Kool G Rap & DJ Polo,
Rotary Connection,
Khruangbin,
Kas Product,
Roxette,
Erasure,
Susan Cadogan,
Lou Reed,
The Alarm Clocks,
Robert Görl,
X-101,
Gil Scott-Heron and Jamie xx,
Lou Christie,
The Shadows of Knight,
Kurtis Blow,
The Gun Club,
Pharoah Sanders,
Duran Duran,
Curtis Mayfield,
The Stooges,
Cluster,
Girls At Our Best!,
Sunsets and Hearts,
Fear,
Kauko Röyhkä ja Narttu,
Ash Ra Tempel,
Bauhaus,
Black Bananas,
Nico,
The Chocolate Watch Band,
The Slackers,
Soft Machine,
The Cure,
Sun Ra Arkestra,
The Mojo Men,
Theoretical Girls,
Crooked Eye,
Mary Jane Girls,
Lee Hazlewood,
Pierre Henry,
Matthew Halsall,
Pet Shop Boys,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Kango’s Stein Massive,
Quadrant,
Aural Exciters,
Chris Corsano,
The Seeds,
Qualms, Qualms, Qualms, Qualms.
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.