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 Hungary and from Taipei.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Wire practice in a loft in Watford.
I was working on the sitar 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 Orchestral Manoeuvres in the Dark to the grime kids.
I played it at the Roxy.
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 Mark Hollis. All the underground hits.
All The Move tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes 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?
Soft Machine,
Roxette,
Lindisfarne,
Accadde A,
Pantaleimon,
X-101,
Thinking Fellers Union Local 282,
Gil Scott-Heron & Brian Jackson,
The Index,
Prince Buster,
Sonny Sharrock,
The Saints,
Saccharine Trust,
KRS-One,
Rekid,
Pagans,
Andrew Ashong & Theo Parrish,
DNA,
The Beau Brummels,
Derrick May,
Urselle,
Audionom,
Janne Schatter,
Index,
The New Christs,
Bobby Sherman,
Mo-Dettes,
Gang Green,
Blancmange,
The Jesus and Mary Chain,
Major Organ And The Adding Machine,
Robert Hood,
La Düsseldorf,
Minutemen,
Essential Logic,
Big Daddy Kane,
Ituana,
Motorama,
Rosa Yemen,
Jeff Lynne,
The Music Machine,
Vainqueur,
Max Romeo,
Hardrive,
Lakeside,
Metal Thangz,
Black Pus,
Infiniti,
Chris Corsano,
Nik Kershaw,
Lizzy Mercier Descloux,
Public Enemy,
The Skatalites,
Justin Hinds & The Dominoes,
Nirvana,
The Mighty Diamonds,
Liaisons Dangereuses,
Joyce Sims,
Sparks,
Bronski Beat,
Patti Smith,
Howard Jones,
The Associates,
Qualms, Qualms, Qualms, Qualms.
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.