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 Namibia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Quadrant to the electroclash kids.
I played it at the 40 Watt.
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 Flipper. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Ossler,
Barrington Levy,
Thompson Twins,
The Slackers,
Derrick Morgan,
Sonny Sharrock,
Underground Resistance,
Henry Cow,
Panda Bear,
One Last Wish,
Stereo Dub,
D'Angelo,
Hot Snakes,
Ice-T,
Radiohead,
Stetsasonic,
Essential Logic,
Patti Smith,
Gian Franco Pienzio,
Terrestrial Tones,
Deadbeat,
The Gories,
Whodini,
Kenny Larkin,
Sexual Harrassment,
Cabaret Voltaire,
Scratch Acid,
Ludus,
A Flock of Seagulls,
Youth Brigade,
Tears for Fears,
Y Pants,
Faraquet,
Japan,
Deepchord,
Skarface,
Marine Girls,
Joey Negro,
Matthew Halsall,
Bobby Hutcherson,
Andrew Ashong & Theo Parrish,
Unrelated Segments,
Heavy D & The Boyz,
Goldenarms,
Marshall Jefferson,
Schoolly D,
Eyeless In Gaza,
Swans,
The West Coast Pop Art Experimental Band,
Icehouse,
The Techniques,
Rufus Thomas,
Ultramagnetic MC's,
Alison Limerick,
kango's stein massive,
The Men They Couldn't Hang,
June of 44,
The Human League,
Isaac Hayes,
Babytalk,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.