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 Norway and from Lyon.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Halifax 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 oboe 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 Eric B and Rakim to the crunk 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 Albert Ayler. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal dance 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 a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Alphaville,
Arab on Radar,
Scan 7,
The Gories,
China Crisis,
Pagans,
James Chance & The Contortions,
Gang of Four,
Tropical Tobacco,
The Velvet Underground,
U.S. Maple,
John Foxx,
Vainqueur,
The Jesus and Mary Chain,
K-Klass,
Black Pus,
Black Flag,
Dual Sessions,
Shoche,
The Angels of Light,
The Fall,
Theoretical Girls,
Sex Pistols,
Kauko Röyhkä ja Narttu,
The Skatalites,
The Toasters,
Panda Bear,
The Remains,
Masters at Work,
Marc Almond,
Niagra,
The Five Americans,
Barry Ungar,
Rufus Thomas,
Flash Fearless,
Moss Icon,
Camouflage,
Ultimate Spinach,
Yusef Lateef,
Morten Harket,
Negative Approach,
Robert Wyatt,
Scientists,
MC5,
Lindisfarne,
Supertramp,
The Pretty Things,
Deadbeat,
Lonnie Liston Smith,
Reuben Wilson,
Gabor Szabo,
Motorama,
Oblivians,
Black Sheep,
Talk Talk,
Wally Richardson,
Oppenheimer Analysis,
Japan, Japan, Japan, Japan.
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.