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 Jordan and from Sao Paulo.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school Paris 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Aswad to the electroclash 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 Henry Cow. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu 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 '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Lonnie Liston Smith,
Faraquet,
Porter Ricks,
Andrew Ashong & Theo Parrish,
Cameo,
Mars,
Sun City Girls,
World's Most,
Qualms,
Bronski Beat,
John Lydon,
Matthew Bourne,
The Move,
Barclay James Harvest,
Roxette,
Inner City,
Public Image Ltd.,
Terror Squad Feat. Camron,
Sexual Harrassment,
Gang of Four,
Jeff Mills,
Pole,
Lizzy Mercier Descloux,
The Fire Engines,
Sad Lovers and Giants,
James Chance & The Contortions,
Graham Central Station,
Camouflage,
Judy Mowatt,
Groovy Waters,
The Evens,
Leonard Cohen,
Loose Ends,
Pierre Henry,
Sound Behaviour,
Surgeon,
Matthew Halsall,
The Stooges,
Vladislav Delay,
Audionom,
Man Parrish,
Saccharine Trust,
Captain Beefheart & His Magic Band,
The Toasters,
Glambeats Corp.,
Fear,
It's A Beautiful Day,
The Mojo Men,
Kas Product,
Eddi Front,
Grauzone,
Ohio Players,
Joe Finger,
Skaos,
John Holt,
Con Funk Shun,
Super Lover Cee & Casanova Rud,
Sällskapet,
Kango’s Stein Massive,
Minor Threat,
The Kinks, The Kinks, The Kinks, The Kinks.
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.