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 Pakistan and from Sao Paulo.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Lyon.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Liaisons Dangereuses to the electroclash 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 Bad Manners. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Khruangbin,
Marc Almond,
The Beau Brummels,
The Offenders,
Lou Christie,
Zero Boys,
Banda Bassotti,
Johnny Osbourne,
Oneida,
The Move,
Electric Light Orchestra,
Clear Light,
London Community Gospel Choir,
Rites of Spring,
La Düsseldorf,
The Cramps,
KRS-One,
The Velvet Underground,
Cabaret Voltaire,
Dark Day,
Joensuu 1685,
Max Romeo,
Grandmaster Flash,
The Electric Prunes,
Gong,
The Victims,
Roy Ayers Ubiquity,
Carl Craig,
Mo-Dettes,
Avey Tare's Slasher Flicks,
Easy Going,
Joe Smooth,
Michelle Simonal,
Funkadelic,
Nirvana,
Major Organ And The Adding Machine,
Sunsets and Hearts,
Gregory Isaacs,
James Chance & The Contortions,
Tres Demented,
Intrusion,
The Sonics,
Peter Gordon & Love of Life Orchestra,
Metal Thangz,
Minutemen,
Sad Lovers and Giants,
Flipper,
Lonnie Liston Smith,
Bobby Womack,
Marcia Griffiths,
Funky Four + One,
Crime,
Television Personalities,
Howard Jones,
Soulsonic Force,
Gil Scott Heron,
The Birthday Party,
Symarip,
Sam Rivers,
Suburban Knight,
ABBA,
Desert Stars,
Henry Cow,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.