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 Togo and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Lille.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Susan Cadogan to the electroclash kids.
I played it at the Troubador.
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 Pretty Things. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Robert Hood 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Spoonie Gee,
Yusef Lateef,
Simply Red,
Section 25,
New Age Steppers,
Pole,
KRS-One,
The Sound,
Tommy Roe,
Monks,
John Coltrane,
MC5,
The Monochrome Set,
Television Personalities,
June Days,
Second Layer,
Rekid,
Audionom,
Sarah Menescal,
MDC,
B.T. Express,
Groovy Waters,
Marcia Griffiths,
Fear,
Fad Gadget,
Flash Fearless,
Erasure,
Severed Heads,
Liaisons Dangereuses,
Cecil Taylor,
Tubeway Army,
Sandy B,
Arcadia,
Dawn Penn,
Malaria!,
Marine Girls,
Icehouse,
Kauko Röyhkä ja Narttu,
Chris & Cosey,
Hasil Adkins,
The West Coast Pop Art Experimental Band,
Ice-T,
DNA,
Ajijia Myrayebe,
Basic Channel,
Technova,
Vaughan Mason & Crew,
Crooked Eye,
Super Lover Cee & Casanova Rud,
Lee Hazlewood,
Oneida,
Avey Tare's Slasher Flicks,
Sunsets and Hearts,
Eric Copeland,
New Order,
Maurizio,
Robert Hood,
The Durutti Column,
Throbbing Gristle,
La Düsseldorf,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.