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 Cameroon and from Mumbai.
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 Cairo and Hong Kong.
I'm losing my edge to the art-school Seoul 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 guitar sounds with much patience.
I was there when Michael McDonald 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 New Christs to the crunk 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 Suburban Knight. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Second Layer 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 a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Ponytail,
The Star Department,
Peter & Gordon,
X-101,
Malaria!,
Terrestrial Tones,
Judy Mowatt,
Girls At Our Best!,
The Invisible,
Radiohead,
The Zeros,
Rotary Connection,
Y Pants,
Crooked Eye,
Lyres,
Severed Heads,
Arab on Radar,
Traffic Nightmare,
The Gladiators,
Ultra Naté,
Lizzy Mercier Descloux,
The Remains,
Brick,
The Misunderstood,
Faust,
The Gun Club,
Eden Ahbez,
The Victims,
Inner City,
Kerri Chandler,
Notorious BIG live in Amsterdam,
Pharoah Sanders,
Jesper Dahlback,
Section 25,
Tubeway Army,
Absolute Body Control,
Banda Bassotti,
Young Marble Giants,
Spoonie Gee,
Bang On A Can,
Oblivians,
Nick Fraelich,
Dorothy Ashby,
Metal Thangz,
Monks,
DJ Sneak,
Stetsasonic,
Sarah Menescal,
Beasts of Bourbon,
Yusef Lateef,
Eve St. Jones,
Nico,
Parry Music,
Urselle,
Wighnomy Brothers & Robag Wruhme,
The Moleskins,
Fugazi,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.