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 France and from Bologna.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Toronto 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Gregory Isaacs to the dance kids.
I played it at CBGB's.
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 Vladislav Delay. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Guru Guru 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Roxette,
Orchestral Manoeuvres in the Dark,
Unrelated Segments,
Boogie Down Productions,
Barry Ungar,
Swell Maps,
Jeff Mills,
Country Teasers,
Gian Franco Pienzio,
Television,
Reuben Wilson,
Wire,
The American Breed,
The Neon Judgement,
Gil Scott-Heron and Jamie xx,
Eli Mardock,
The Trojans,
Maurizio,
Tubeway Army,
Lyres,
The Last Poets,
Piero Umiliani,
The West Coast Pop Art Experimental Band,
Main Source,
Juan Atkins,
Duran Duran,
Bush Tetras,
Panda Bear,
The Invisible,
Sonny Sharrock,
The Star Department,
Marshall Jefferson,
Terrestrial Tones,
Pagans,
Delta 5,
Grauzone,
Das Ding,
Echo & the Bunnymen,
David Axelrod,
Deadbeat,
Groovy Waters,
Tropical Tobacco,
Royal Trux,
In Retrospect,
New York Dolls,
Clear Light,
Rakim,
Crime,
The Fortunes,
Eurythmics,
Ludus,
Bill Wells,
Liliput,
Mantronix,
Heavy D & The Boyz,
Rod Modell,
The Human League,
Los Fastidios,
The Associates,
Fort Wilson Riot,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.