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 Germany and from Delhi.
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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and Spokane.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 John Cale to the grime kids.
I played it at the Hacienda.
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 The Selecter. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Soft Machine 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pet Shop Boys,
Crash Course in Science,
James Chance & The Contortions,
T.S.O.L.,
48th St. Collective,
Funkadelic,
Rakim,
Shuggie Otis,
Fad Gadget,
Khruangbin,
Nico,
Flamin' Groovies,
Public Image Ltd.,
Soul Sonic Force,
June Days,
Steve Hackett,
Wings,
The Smoke,
Skaos,
Cheater Slicks,
Barry Ungar,
F. McDonald,
Gil Scott Heron,
Whodini,
The Dead C,
Camberwell Now,
Vaughan Mason & Crew,
Moss Icon,
The Sonics,
Robert Görl,
Massinfluence,
Model 500,
Eric B and Rakim,
Richard Hell and the Voidoids,
The Music Machine,
Darondo,
Pete Rock & C.L. Smooth,
Second Layer,
Eve St. Jones,
Moby Grape,
Selector Dub Narcotic,
Porter Ricks,
Loose Ends,
Flipper,
The Zeros,
PIL,
Kurtis Blow,
Max Romeo,
Icehouse,
Brick,
cv313,
Rapeman,
Nik Kershaw,
Sight & Sound,
Fat Boys,
ABC,
The Cosmic Jokers,
One Last Wish,
Lebanon Hanover,
Amon Düül,
The Residents,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.