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 Belarus and from Halifax.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 John Cale to the crunk kids.
I played it at the Crocodile.
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 Faust. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
the Swans,
Dennis Brown,
Sunsets and Hearts,
Glambeats Corp.,
the Soft Cell,
Gong,
Shuggie Otis,
Television Personalities,
Organ,
Idris Muhammad,
Pagans,
The Divine Comedy,
Eve St. Jones,
Marshall Jefferson,
Fat Boys,
Janne Schatter,
The Alarm Clocks,
Johnny Clarke,
The Wake,
The Moleskins,
Flipper,
Rod Modell,
Jesper Dahlback,
The Golliwogs,
Half Japanese,
Underground Resistance,
Scrapy,
Aloha Tigers,
the Fania All-Stars,
Jawbox,
The Seeds,
The United States of America,
the Slits,
Monolake,
Swell Maps,
Von Mondo,
Agent Orange,
Frankie Knuckles,
Howard Jones,
Gil Scott-Heron and Jamie xx,
Scientists,
The Detroit Cobras,
Symarip,
Stetsasonic,
Crispy Ambulance,
The Motions,
Barclay James Harvest,
Mark Hollis,
Bobby Sherman,
Spandau Ballet,
Terry Callier,
Sister Nancy,
Ossler,
Rites of Spring,
AZ,
Nation of Ulysses,
Rowland S Howard / Lydia Lunch,
The New Christs,
Cal Tjader,
Model 500,
The Five Americans,
Lee Hazlewood,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.