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 Armenia and from Tokyo.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 1973 at the first Television practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Procol Harum to the rap kids.
I played it at the Astoria.
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 Byron Stingily. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Black Moon 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Godley & Creme,
Stereo Dub,
Saccharine Trust,
Isaac Hayes,
Franke,
Art Ensemble Of Chicago,
Minny Pops,
Sunsets and Hearts,
Public Image Ltd.,
Joey Negro,
Notorious Big And Bone Thugs,
Bootsy Collins,
Jesper Dahlback,
The Fall,
Metal Thangz,
Byron Stingily,
Mad Mike,
Livin' Joy,
Juan Atkins,
Alton Ellis,
the Germs,
Peter Gordon & Love of Life Orchestra,
U.S. Maple,
Orchestral Manoeuvres in the Dark,
X-101,
Skaos,
Sight & Sound,
Lakeside,
The Sonics,
CMW,
Quando Quango,
Buzzcocks,
Wally Richardson,
Mars,
Essential Logic,
Shuggie Otis,
Marshall Jefferson,
Royal Trux,
Inner City,
Prince Buster,
Dead Boys,
Blancmange,
Red Lorry Yellow Lorry,
De La Soul & Jungle Brothers,
Quantec,
Little Man,
Sandy B,
Anakelly,
Avey Tare,
The Moleskins,
Glambeats Corp.,
Deutsch Amerikanische Freundschaft,
Los Fastidios,
Dorothy Ashby,
Whodini,
The Monks,
A Certain Ratio,
Kenny Larkin,
Liliput,
Desert Stars,
Technova,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.