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 Zambia and from Lyon.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Delhi and Toronto.
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 Zapp practice in a loft in Hamilton.
I was working on the synthesizer 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 Heavy D & The Boyz to the techno 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 Kerrie Biddell. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
La Düsseldorf,
Cabaret Voltaire,
Outsiders,
Hasil Adkins,
Roxette,
Richard Hell and the Voidoids,
Subhumans,
Amon Düül II,
Tom Boy,
Circle Jerks,
the Sonics,
Curtis Mayfield,
Scion,
Black Moon,
X-Ray Spex,
The Fire Engines,
Kings Of Tomorrow,
LL Cool J,
Mr. Review,
Matthew Halsall,
London Community Gospel Choir,
Aural Exciters,
Rosa Yemen,
Chrome,
Kas Product,
Blancmange,
Dual Sessions,
Clear Light,
Peter & Gordon,
Maurizio,
Heavy D & The Boyz,
The Invisible,
Piero Umiliani,
James Chance & The Contortions,
Aaron Thompson,
The Standells,
Thompson Twins,
Maleditus Sound,
Negative Approach,
Fifty Foot Hose,
The Toasters,
Magazine,
The Pop Group,
Interpol,
Gerry Rafferty,
Boz Scaggs,
Godley & Creme,
Schoolly D,
The Skatalites,
Tres Demented,
Marshall Jefferson,
Yellowson,
Johnny Clarke,
Rekid,
Hashim,
Bootsy Collins,
Art Ensemble Of Chicago,
JFA,
Larry & the Blue Notes,
Barclay James Harvest,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.