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 Luxembourg 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 1967 to 1970.
I'm losing my edge.
To all the kids in New York and Lagos.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator 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 Fear to the disco 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 Radiopuhelimet. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Archie Shepp 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Remains,
D'Angelo,
CMW,
Andrew Ashong & Theo Parrish,
Shuggie Otis,
Dual Sessions,
Rites of Spring,
Banda Bassotti,
Sad Lovers and Giants,
Manfred Mann's Earth Band,
Curtis Mayfield,
Groovy Waters,
Black Moon,
Second Layer,
Sound Behaviour,
Gang Green,
Louis and Bebe Barron,
James Chance & The Contortions,
The Slits,
Lou Reed & John Cale,
Alton Ellis,
Teenage Jesus and the Jerks,
Erasure,
The Happenings,
Todd Rundgren,
Matthew Halsall,
The Monochrome Set,
Suburban Knight,
Pierre Henry,
Oblivians,
June of 44,
Radiopuhelimet,
Q65,
Faust,
The Beau Brummels,
The Motions,
Judy Mowatt,
Piero Umiliani,
Boz Scaggs,
The Doobie Brothers,
Wally Richardson,
Bootsy's Rubber Band,
Fluxion,
Man Parrish,
Monolake,
Mr. Review,
Todd Terry,
The Royal Family And The Poor,
Surgeon,
Ponytail,
Throbbing Gristle,
Silicon Teens,
Loose Ends,
Underground Resistance,
Stetsasonic,
Kango’s Stein Massive,
Jimmy McGriff,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.