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 Lesotho and from Woodstock.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Delhi and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 spring reverb 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 Marc Romboy vs. Booka Shade to the electroclash 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 The Move. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
The Velvet Underground,
Don Cherry,
The Blues Magoos,
Index,
The Kinks,
The Mighty Diamonds,
Mark Hollis,
Eyeless In Gaza,
The Human League,
Juan Atkins,
Radiopuhelimet,
Kool G Rap & DJ Polo,
Mad Mike,
Symarip,
Royal Trux,
the Fania All-Stars,
The American Breed,
Hardrive,
Minny Pops,
Robert Hood,
Scrapy,
Godley & Creme,
Bobby Byrd,
Peter & Gordon,
Country Joe & The Fish,
the Human League,
DNA,
Larry & the Blue Notes,
The Saints,
Tubeway Army,
The Modern Lovers,
Skarface,
cv313,
Notorious BIG live in Amsterdam,
Sandy B,
Justin Hinds & The Dominoes,
Theoretical Girls,
Sister Nancy,
Ultramagnetic MC's,
Technova,
The Shadows of Knight,
London Community Gospel Choir,
Shoche,
the Slits,
Magazine,
The Smiths,
Delta 5,
Fifty Foot Hose,
The West Coast Pop Art Experimental Band,
Deadbeat,
Little Man,
David Axelrod,
The Alarm Clocks,
Crooked Eye,
Eric Copeland,
The Royal Family And The Poor,
Grandmaster Flash and the Furious Five,
Gichy Dan,
Alison Limerick,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.