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 Saudi Arabia and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1960 to 1974.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Tehran 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 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 Sparks to the grime 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 Eric B and Rakim. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Max Romeo 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
ABBA,
John Foxx,
Wings,
Echo & the Bunnymen,
Deadbeat,
KRS-One,
Sonny Sharrock,
Rufus Thomas,
Bauhaus,
Kaleidoscope,
The Gladiators,
Kayak,
Scott Walker + Sunn O))),
Liliput,
Arab on Radar,
The Barracudas,
DNA,
Intrusion,
The Index,
Wally Richardson,
Deepchord,
Stiv Bators,
Silicon Teens,
Sexual Harrassment,
Nils Olav,
Gichy Dan,
The Tremeloes,
The Modern Lovers,
Soft Machine,
The Gories,
Q and Not U,
Manfred Mann's Earth Band,
Vaughan Mason & Crew,
Godley & Creme,
Animal Collective,
Siouxsie and the Banshees,
The Cure,
the Soft Cell,
Hasil Adkins,
Country Teasers,
The Last Poets,
Pulsallama,
Big Daddy Kane,
a-ha,
Livin' Joy,
Avey Tare & Kría Brekkan,
Main Source,
UT,
Roy Ayers Ubiquity,
The Searchers,
The Dirtbombs,
Mission of Burma,
Iggy Pop,
Rod Modell,
The Trojans,
Scion,
Crooked Eye,
Banda Bassotti,
Grandmaster Flash and the Furious Five,
The Cowsills,
Louis and Bebe Barron,
Eve St. Jones,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.