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 South Africa and from Hong Kong.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Milan and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 Lou Reed 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 Bluetip to the punk 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 Bluetip. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Wally Richardson,
Man Parrish,
Yaz,
Jacob Miller,
Q and Not U,
Fifty Foot Hose,
Country Joe & The Fish,
Urselle,
The Divine Comedy,
The Misunderstood,
Radio Birdman,
John Cale,
The Gap Band,
Prince Buster,
Clear Light,
Gang Gang Dance,
The Names,
Connie Case,
The Remains,
The Moody Blues,
Pulsallama,
Minor Threat,
David Bowie,
Teenage Jesus and the Jerks,
Echospace,
Nico,
Gil Scott-Heron and Jamie xx,
Minnie Riperton,
It's A Beautiful Day,
the Normal,
Cymande,
The Angels of Light,
Ronan,
The West Coast Pop Art Experimental Band,
Davy DMX,
Henry Cow,
Deakin,
Ajijia Myrayebe,
The Five Americans,
Scott Walker,
Liliput,
Wings,
The Red Krayola,
Groovy Waters,
The Cramps,
Mary Jane Girls,
Heaven 17,
Ash Ra Tempel,
Scion,
Inner City,
Spandau Ballet,
X-102,
Terrestrial Tones,
The Golliwogs,
Graham Central Station,
Cabaret Voltaire,
Mission of Burma,
The Associates,
Popol Vuh,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.