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 Indonesia and from Bremen.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Bremen 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 1977 at the first Human League practice in a loft in Sheffield.
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 Smog to the crunk 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 Main Source. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal punk 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 arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Pagans,
Peter & Gordon,
Procol Harum,
Lee Hazlewood,
Livin' Joy,
Avey Tare's Slasher Flicks,
H. Thieme,
Altered Images,
Masters at Work,
Monks,
Traffic Nightmare,
Popol Vuh,
Franke,
Roxy Music,
The Barracudas,
Heaven 17,
Absolute Body Control,
Moebius,
Robert Görl,
The Cowsills,
Soft Cell,
Pere Ubu,
The Royal Family And The Poor,
Oblivians,
Boogie Down Productions,
Sister Nancy,
Grandmaster Flash and the Furious Five,
Tubeway Army,
Graham Central Station,
U.S. Maple,
The Durutti Column,
Royal Trux,
X-101,
Alton Ellis,
Gerry Rafferty,
Arthur Verocai,
Richard Hell and the Voidoids,
Jeff Mills,
Michelle Simonal,
The Alarm Clocks,
Rod Modell,
The Neon Judgement,
Lyres,
Cybotron,
Minny Pops,
The Remains,
Section 25,
Roy Ayers,
Soul II Soul,
Shuggie Otis,
Gregory Isaacs,
Public Image Ltd.,
Colin Newman,
Lou Reed & Metallica,
Unrelated Segments,
The Motions,
Ludus,
Wire, Wire, Wire, Wire.
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.