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 El Salvador and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Madrid 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 organ sounds with much patience.
I was there when Robert Palmer 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 Todd Terry to the electroclash kids.
I played it at the 40 Watt.
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 Warren Ellis. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Piero Umiliani 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Siouxsie and the Banshees,
The Mummies,
Blancmange,
Brick,
Josef K,
Motorama,
Avey Tare,
The Kinks,
Model 500,
Panda Bear,
Peter & Gordon,
Jeff Mills,
Moss Icon,
CMW,
Bootsy's Rubber Band,
Amazonics,
Ralphi Rosario,
Glenn Branca,
Intrusion,
Shuggie Otis,
Scion,
Quantec,
Visage,
Sad Lovers and Giants,
K-Klass,
Underground Resistance,
Altered Images,
The Martian,
AZ,
JFA,
The Dave Clark Five,
Fatback Band,
The Beau Brummels,
Marvin Gaye,
R.M.O.,
Colin Newman,
Easy Going,
Qualms,
The Cure,
Godley & Creme,
Eurythmics,
Jacques Brel,
Kaleidoscope,
Steve Hackett,
Dawn Penn,
Bobby Byrd,
The Evens,
Angels of Light & Akron/Family,
The Doors,
Lower 48,
Ossler,
Fluxion,
Johnny Clarke,
Darondo,
Susan Cadogan,
The Selecter,
Babytalk,
Brand Nubian,
The Real Kids,
Avey Tare's Slasher Flicks,
The Fall,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.