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 Mozambique and from Houston.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 Manila and Milan.
I'm losing my edge to the art-school Milan 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Aaron Thompson to the electroclash kids.
I played it at Cafe Wha.
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 Barrington Levy. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Deutsch Amerikanische Freundschaft,
The Victims,
Kurtis Blow,
Piero Umiliani,
Blossom Toes,
Simply Red,
Alton Ellis,
These Immortal Souls,
Pere Ubu,
Drive Like Jehu,
The Sonics,
The Stooges,
Anakelly,
Mission of Burma,
Louis and Bebe Barron,
Zero Boys,
The Leaves,
Toni Rubio,
Mad Mike,
Fatback Band,
Yusef Lateef,
The Trojans,
H. Thieme,
Underground Resistance,
Whodini,
Crime,
Pantaleimon,
Todd Rundgren,
Tomorrow,
Traffic Nightmare,
Soft Machine,
Warsaw,
A Flock of Seagulls,
Alice Coltrane,
Girls At Our Best!,
U.S. Maple,
Bob Dylan,
X-101,
Brick,
Crash Course in Science,
Ituana,
Popol Vuh,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Reuben Wilson,
Youth Brigade,
John Lydon,
Graham Central Station,
Man Eating Sloth,
Supertramp,
Minor Threat,
Pharoah Sanders,
Little Man,
Letta Mbulu,
Rekid,
Brothers Johnson,
Black Bananas,
Skaos,
Television,
Sixth Finger,
The Gap Band,
Terry Callier,
Tim Buckley,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.