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 Swaziland and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school London 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 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 Thinking Fellers Union Local 282 to the techno kids.
I played it at the Spitz.
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 Dual Sessions. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Skaos 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 '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Echospace,
Harpers Bizarre,
Captain Beefheart & His Magic Band,
Eli Mardock,
Boredoms,
A Flock of Seagulls,
Bluetip,
Vladislav Delay,
48th St. Collective,
Marmalade,
Charles Mingus,
Wings,
The Toasters,
Bobbi Humphrey,
Nico,
DJ Sneak,
Symarip,
Scion,
Slave,
Swell Maps,
Warren Ellis,
Terry Callier,
Whodini,
Louis and Bebe Barron,
Moebius,
Suburban Knight,
Lee Hazlewood,
Notorious Big And Bone Thugs,
Bad Manners,
Country Teasers,
Jeff Lynne,
Brass Construction,
David McCallum,
Eric Copeland,
Technova,
Skarface,
Eve St. Jones,
Ronnie Foster,
Black Flag,
Glambeats Corp.,
Ludus,
Pere Ubu,
Laurel Aitken,
Matthew Bourne,
Ken Boothe,
Barbara Tucker,
Ralphi Rosario,
Piero Umiliani,
Jacob Miller,
The Litter,
The Offenders,
ABBA,
Andrew Ashong & Theo Parrish,
John Holt,
cv313,
Essential Logic,
the Normal,
Jesper Dahlbäck,
The Shadows of Knight,
Scratch Acid,
Spandau Ballet,
ABC,
Organ, Organ, Organ, Organ.
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.