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 Kiribati and from Tehran.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Salvador and Delhi.
I'm losing my edge to the art-school Columbus 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 Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 Residents to the dance kids.
I played it at the Roxy.
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 Absolute Body Control. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Visage 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
The Index,
Crooked Eye,
Livin' Joy,
the Slits,
London Community Gospel Choir,
Pantaleimon,
Stetsasonic,
Magazine,
Mark Hollis,
Heavy D & The Boyz,
Janne Schatter,
Intrusion,
Marmalade,
Circle Jerks,
Man Parrish,
Sound Behaviour,
Kurtis Blow,
The Stooges,
Grandmaster Flash,
Sparks,
The Selecter,
Half Japanese,
The Alarm Clocks,
Model 500,
Kayak,
The Saints,
Amon Düül,
Spandau Ballet,
Bobby Hutcherson,
the Sonics,
Peter Gordon & Love of Life Orchestra,
Talk Talk,
The Cosmic Jokers,
Peter & Gordon,
Arab on Radar,
Selector Dub Narcotic,
Kenny Larkin,
Wally Richardson,
Qualms,
Organ,
The Standells,
Ash Ra Tempel,
Curtis Mayfield,
Althea and Donna,
Visage,
Eli Mardock,
a-ha,
The Moody Blues,
Godley & Creme,
Lalo Schifrin,
The Divine Comedy,
Scrapy,
Faust,
Stockholm Monsters,
Bobby Byrd,
The Victims,
Jeru the Damaja,
Tears for Fears,
Lonnie Liston Smith,
cv313,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.