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 Kyrgyzstan and from New York.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Stockholm 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Byron Stingily to the grime kids.
I played it at Cafe Wha.
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 Quantec. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Max Romeo 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 a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe 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 Wake,
the Human League,
Ronnie Foster,
D'Angelo,
Can,
Gil Scott-Heron & Brian Jackson,
Alison Limerick,
Ten City,
Stereo Dub,
Sun Ra,
Gregory Isaacs,
Man Eating Sloth,
New York Dolls,
Amazonics,
The Human League,
The Victims,
CMW,
These Immortal Souls,
Pharaoh Sanders and the Fire Engines,
The Raincoats,
JFA,
cv313,
The Neon Judgement,
Massinfluence,
The Last Poets,
Depeche Mode,
Negative Approach,
The Cramps,
The Gladiators,
Rhythim Is Rhythim,
Fear,
Kango’s Stein Massive,
The Busters,
Excepter,
Soft Machine,
The Count Five,
Sister Nancy,
Lee Hazlewood,
Swell Maps,
The Alarm Clocks,
Bill Wells,
Maleditus Sound,
Fugazi,
The Techniques,
Slave,
Infiniti,
Intrusion,
The Pop Group,
Stiv Bators,
Don Cherry,
Laurel Aitken,
Be Bop Deluxe,
Wasted Youth,
Wire,
Roy Ayers,
Gastr Del Sol,
Clear Light,
Eurythmics,
Guru Guru,
Bluetip,
Albert Ayler,
Pole,
The Durutti Column,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.