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 Rwanda and from Bologna.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Mumbai 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Barry Ungar to the rap kids.
I played it at the Troubador.
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 a-ha. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
The Gap Band,
Kango’s Stein Massive,
The Last Poets,
Minor Threat,
Jesper Dahlbäck,
Marc Romboy vs. Booka Shade,
Chris & Cosey,
Pagans,
Al Stewart,
The Smoke,
Richard Hell and the Voidoids,
The Dead C,
Ronan,
Jeff Lynne,
Traffic Nightmare,
Johnny Osbourne,
The Doors,
Johnny Clarke,
Eli Mardock,
Dennis Brown,
Reuben Wilson,
Rapeman,
Tears for Fears,
Idris Muhammad,
Skaos,
The Associates,
Ultravox,
Josef K,
Lou Christie,
Electric Prunes,
Moss Icon,
John Foxx,
Mr. Review,
Popol Vuh,
Groovy Waters,
Smog,
Jacques Brel,
The Modern Lovers,
Sticky Fingaz feat. Raekwon,
Yazoo,
The Monks,
The Five Americans,
Graham Central Station,
The Men They Couldn't Hang,
Nick Cave & The Bad Seeds,
Nils Olav,
Camberwell Now,
Siglo XX,
Joy Division,
Talk Talk,
Flipper,
The Standells,
Neu!,
The Human League,
Brick,
Boogie Down Productions,
Sparks,
Dual Sessions,
Jeru the Damaja,
Little Man,
The Blackbyrds,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.