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 Greece and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator 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 AZ to the punk kids.
I played it at the Hacienda.
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 Wings. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Banda Bassotti 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
kango's stein massive,
Pylon,
Oppenheimer Analysis,
Rakim,
Avey Tare's Slasher Flicks,
Khruangbin,
Television Personalities,
Country Joe & The Fish,
Ludus,
Gil Scott-Heron & Brian Jackson,
Gary Puckett & The Union Gap,
Gang Gang Dance,
Barclay James Harvest,
Prince Buster,
Swans,
Stiv Bators,
H. Thieme,
Peter Gordon & Love of Life Orchestra,
Fear,
Janne Schatter,
X-Ray Spex,
The Last Poets,
Idris Muhammad,
Althea and Donna,
Lyres,
Pet Shop Boys,
FM Einheit,
Deepchord,
The Mojo Men,
Black Moon,
John Lydon,
Judy Mowatt,
Saccharine Trust,
Blake Baxter,
Justin Hinds & The Dominoes,
A Flock of Seagulls,
MC5,
DJ Sneak,
Nick Cave & The Bad Seeds,
The Fugs,
Cybotron,
the Germs,
The Leaves,
Scott Walker,
Angels of Light & Akron/Family,
Heaven 17,
The Trojans,
Kevin Saunderson,
Barry Ungar,
Scratch Acid,
Bobby Womack,
Camron Feat. Memphis Bleek And Beenie Seigel,
Matthew Bourne,
X-102,
The Knickerbockers,
10cc,
Camberwell Now,
June Days,
The Dead C,
Juan Atkins,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.