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 Norway and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school Cairo 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 linndrum 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 Marmalade to the grunge 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 Rhythm & Sound. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Spandau Ballet,
B.T. Express,
Erykah Badu,
Duran Duran,
Byron Stingily,
Soft Cell,
Josef K,
Sonic Youth,
Fad Gadget,
Larry & the Blue Notes,
Aswad,
Jesper Dahlbäck,
Ponytail,
The Index,
Danielle Patucci,
Metal Thangz,
Freddie Wadling,
The Five Americans,
Glenn Branca,
Rekid,
Can,
Sunsets and Hearts,
Television,
Rahsaan Roland Kirk,
Selector Dub Narcotic,
Justin Hinds & The Dominoes,
Make Up,
New Order,
Rhythm & Sound,
Lightning Bolt,
Barrington Levy,
Animal Collective,
Ronnie Foster,
Audionom,
Mr. Review,
Fat Boys,
the Human League,
The Toasters,
10cc,
Niagra,
Pete Rock & C.L. Smooth,
Tropical Tobacco,
Erasure,
a-ha,
Sister Nancy,
Hashim,
Bobby Womack,
Notorious Big And Bone Thugs,
The Techniques,
Silicon Teens,
Eve St. Jones,
The Blues Magoos,
Drexciya,
Henry Cow,
Cybotron,
Cameo,
The Cowsills,
Aaron Thompson,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.