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 New Zealand and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school London 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 snare 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 Mummies to the funk kids.
I played it at the Crocodile.
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 Mars. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every The United States of America 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Andrew Hill,
Andrew Ashong & Theo Parrish,
Tommy Roe,
Dual Sessions,
Gil Scott-Heron and Jamie xx,
Magazine,
Television Personalities,
Ultravox,
Neu!,
Grauzone,
The Knickerbockers,
The Victims,
Maleditus Sound,
Brothers Johnson,
U.S. Maple,
The Kinks,
The Mojo Men,
Dorothy Ashby,
Kayak,
Popol Vuh,
James White and The Blacks,
AZ,
Desert Stars,
The Human League,
Scan 7,
Eve St. Jones,
Severed Heads,
Underground Resistance,
Gang Green,
Cluster,
Soft Machine,
Alison Limerick,
Cymande,
Piero Umiliani,
Spoonie Gee,
Q and Not U,
D'Angelo,
Echospace,
Agent Orange,
Rapeman,
Shoche,
Wolf Eyes,
Marcia Griffiths,
A Flock of Seagulls,
Black Sheep,
Siglo XX,
Lebanon Hanover,
Bauhaus,
Bobby Sherman,
F. McDonald,
Porter Ricks,
Nick Fraelich,
Reagan Youth,
The Electric Prunes,
John Foxx,
Bob Dylan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hashim, Hashim, Hashim, Hashim.
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.