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 Japan and from Glasgow.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Lyon 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 güiro sounds with much patience.
I was there when Lou Reed 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 The Men They Couldn't Hang to the dance 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 Danielle Patucci. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Nation of Ulysses,
Junior Murvin,
Justin Hinds & The Dominoes,
Depeche Mode,
Sexual Harrassment,
The Peanut Butter Conspiracy,
Jeff Lynne,
OOIOO,
Fifty Foot Hose,
Bronski Beat,
Ralphi Rosario,
Johnny Osbourne,
Ajijia Myrayebe,
Kevin Saunderson,
The Raincoats,
The Sisters of Mercy,
Half Japanese,
Ultravox,
Selector Dub Narcotic,
Thinking Fellers Union Local 282,
Max Romeo,
Aloha Tigers,
Adolescents,
Eli Mardock,
Tommy Roe,
Brothers Johnson,
The United States of America,
Bang On A Can,
Steve Hackett,
New Age Steppers,
The Mighty Diamonds,
Black Bananas,
Saccharine Trust,
Royal Trux,
Gian Franco Pienzio,
David McCallum,
Stetsasonic,
Isaac Hayes,
Motorama,
Rosa Yemen,
T.S.O.L.,
Joensuu 1685,
The Beau Brummels,
Heavy D & The Boyz,
the Association,
The Cramps,
Ornette Coleman,
Strawberry Alarm Clock,
Hashim,
Sight & Sound,
DeepChord presents Echospace,
Fluxion,
Black Moon,
Pantytec,
Cabaret Voltaire,
Hot Snakes,
Khruangbin,
The Tremeloes,
Inner City,
Alice Coltrane,
Deakin, Deakin, Deakin, Deakin.
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.