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 Poland and from Philadelphia.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lyon and Madrid.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Oblivians to the dance 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 Ultravox. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal grime 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Q65,
Mr. Review,
Pole,
Sex Pistols,
Nico,
Television,
D'Angelo,
Gichy Dan,
a-ha,
Johnny Osbourne,
Roxette,
Howard Jones,
The Cramps,
Massinfluence,
The Chocolate Watch Band,
Sad Lovers and Giants,
Colin Newman,
John Cale,
Mark Hollis,
Yaz,
Joensuu 1685,
New Age Steppers,
Talk Talk,
Panda Bear,
The Trojans,
The Gladiators,
The Doors,
Tres Demented,
Eve St. Jones,
X-101,
Danielle Patucci,
Franke,
Eyeless In Gaza,
Fort Wilson Riot,
Captain Beefheart & His Magic Band,
Lafayette Afro Rock Band,
Arthur Verocai,
Kevin Saunderson,
Eric B and Rakim,
The Electric Prunes,
Joe Smooth,
Faust,
Jeff Lynne,
Jesper Dahlbäck,
Ponytail,
Crispy Ambulance,
Avey Tare & Kría Brekkan,
Eric Copeland,
Symarip,
ABC,
Terry Callier,
The United States of America,
The Standells,
Gian Franco Pienzio,
Soul II Soul,
Metal Thangz,
The Monks,
Jerry's Kids,
The Dirtbombs,
Grauzone,
Negative Approach,
June Days,
Harmonia, Harmonia, Harmonia, Harmonia.
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.