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 Iceland and from Accra.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Manchester 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 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 Vladislav Delay to the jazz kids.
I played it at the Spitz.
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 Nas. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Gil Scott Heron,
James Chance & The Contortions,
Chris & Cosey,
Quadrant,
The Human League,
Marvin Gaye,
Sun Ra Arkestra,
Make Up,
Cheater Slicks,
Pantaleimon,
Guru Guru,
The Grass Roots,
John Coltrane,
Agitation Free,
Hardrive,
Hashim,
The Shadows of Knight,
The Sound,
Nils Olav,
Lou Reed & Metallica,
Judy Mowatt,
Shuggie Otis,
Eurythmics,
Cameo,
Tim Buckley,
Peter and Kerry,
Grandmaster Flash,
Monks,
Don Cherry,
Larry & the Blue Notes,
Ronnie Foster,
The New Christs,
Dave Gahan,
Blake Baxter,
F. McDonald,
Bill Wells,
Spandau Ballet,
Electric Light Orchestra,
The Jesus and Mary Chain,
Graham Central Station,
the Normal,
The Fire Engines,
Jeff Mills,
New Order,
Strawberry Alarm Clock,
Alison Limerick,
Main Source,
Kango’s Stein Massive,
Aural Exciters,
Sexual Harrassment,
The West Coast Pop Art Experimental Band,
Monolake,
Nation of Ulysses,
Jeru the Damaja,
The Durutti Column,
Black Flag,
Sam Rivers,
Faust,
Rekid,
Grey Daturas,
Outsiders,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.