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 Tajikistan and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
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 Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Sarah Menescal to the dance kids.
I played it at Trash.
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 Dark Day. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
the Association,
Mary Jane Girls,
Eric Copeland,
Anthony Braxton,
Main Source,
Gil Scott-Heron & Brian Jackson,
cv313,
Suicide,
Lizzy Mercier Descloux,
The Real Kids,
Index,
Boz Scaggs,
Young Marble Giants,
Marc Romboy vs. Booka Shade,
Smog,
Jimmy McGriff,
Scrapy,
Alphaville,
Eve St. Jones,
Donald Byrd,
Henry Cow,
Heavy D & The Boyz,
Jeff Lynne,
Marc Almond,
Gian Franco Pienzio,
Oneida,
Brothers Johnson,
Chrome,
Sarah Menescal,
Pylon,
L. Decosne,
Flamin' Groovies,
Lou Reed & John Cale,
Banda Bassotti,
Iggy Pop,
Schoolly D,
Camron Feat. Jay Z And Juelz,
The Fortunes,
Bluetip,
Cameo,
Monks,
Orchestral Manoeuvres in the Dark,
Wasted Youth,
Saccharine Trust,
Jacques Brel,
Idris Muhammad,
John Foxx,
Gil Scott Heron,
Gil Scott-Heron and Jamie xx,
F. McDonald,
The Doors,
Pere Ubu,
Sly & The Family Stone,
Zapp,
Brand Nubian,
Gichy Dan,
Sunsets and Hearts,
Sun Ra Arkestra,
Robert Wyatt,
Tom Boy,
Eli Mardock,
Monolake,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.