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 Azerbaijan and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Taipei and Tokyo.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Spandau Ballet to the electroclash 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 Popol Vuh. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Fugazi record on German import.
I heard that you have a white label of every seminal disco 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 a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Aaron Thompson,
The Zeros,
The Durutti Column,
John Lydon,
Johnny Clarke,
Little Man,
The Names,
Interpol,
Siouxsie and the Banshees,
Technova,
The Music Machine,
De La Soul & Jungle Brothers,
Kool Moe Dee,
Terror Squad Feat. Camron,
The Martian,
Television Personalities,
The Selecter,
Main Source,
Qualms,
Kaleidoscope,
The Vogues,
Rapeman,
The Dead C,
Visionaries,LMNO, T- Love & Iriscience,
Bush Tetras,
Peter and Kerry,
The American Breed,
Cal Tjader,
Severed Heads,
Patti Smith,
Prince Buster,
Jeff Lynne,
Lungfish,
Wighnomy Brothers & Robag Wruhme,
Lower 48,
The Men They Couldn't Hang,
Spoonie Gee,
Sixth Finger,
Siglo XX,
Albert Ayler,
The Fire Engines,
Gang Green,
Johnny Osbourne,
Flash Fearless,
Skriet,
Flamin' Groovies,
Warsaw,
Wolf Eyes,
Bobby Womack,
Derrick Morgan,
Kevin Saunderson,
Scott Walker,
Bronski Beat,
Idris Muhammad,
Q and Not U,
Soulsonic Force,
The Monochrome Set,
Camouflage,
Amazonics,
Larry & the Blue Notes,
June Days, June Days, June Days, June Days.
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.