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 Singapore and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Glasgow 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 808 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 Zapp to the dance kids.
I played it at CBGB's.
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 Richard Hell and the Voidoids. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Sugar Minott 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Bang on a Can All-Stars,
CMW,
Kool Moe Dee,
The Skatalites,
Trumans Water,
Flash Fearless,
Groovy Waters,
Minny Pops,
Hot Snakes,
Jesper Dahlbäck,
Stereo Dub,
Hoover,
The Five Americans,
Chris Corsano,
The Knickerbockers,
Gerry Rafferty,
The Fortunes,
Loose Ends,
Nirvana,
Banda Bassotti,
A Certain Ratio,
Larry & the Blue Notes,
Absolute Body Control,
Heaven 17,
The Electric Prunes,
Carl Craig,
Talk Talk,
Unrelated Segments,
Kings Of Tomorrow,
Bobby Byrd,
Rahsaan Roland Kirk,
The Human League,
Connie Case,
Grey Daturas,
Shoche,
Eyeless In Gaza,
Gong,
Das Ding,
Soulsonic Force,
New Order,
The Seeds,
One Last Wish,
The Trojans,
U.S. Maple,
Warsaw,
Siglo XX,
Minutemen,
Lyres,
Althea and Donna,
Arthur Verocai,
Gian Franco Pienzio,
The Gladiators,
Sexual Harrassment,
Organ,
Fluxion,
Al Stewart,
Rhythm & Sound,
Ash Ra Tempel,
Terrestrial Tones,
The Litter,
Motorama, Motorama, Motorama, Motorama.
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.