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 Andorra and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1977.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Salvador 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Fad Gadget to the rap kids.
I played it at the Roxy.
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 Bronski Beat. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
In Retrospect,
The Count Five,
Connie Case,
Rosa Yemen,
The Velvet Underground,
Camberwell Now,
The Tremeloes,
Shoche,
Funky Four + One,
The Mojo Men,
Mr. Review,
Bootsy Collins,
Marvin Gaye,
The Cramps,
Mandrill,
Lebanon Hanover,
Man Eating Sloth,
Cymande,
the Slits,
The Cure,
Lonnie Liston Smith,
Absolute Body Control,
Lalann,
Grey Daturas,
Model 500,
Gabor Szabo,
Roy Ayers,
The Alarm Clocks,
Terry Callier,
Gian Franco Pienzio,
Roy Ayers Ubiquity,
Supertramp,
Marmalade,
Cabaret Voltaire,
June of 44,
Pharaoh Sanders and the Fire Engines,
The Smoke,
Donny Hathaway,
Stockholm Monsters,
Spoonie Gee,
Subhumans,
Zero Boys,
Masters at Work,
Deepchord,
Aloha Tigers,
X-Ray Spex,
The Dave Clark Five,
the Association,
Buzzcocks,
Eli Mardock,
Gary Puckett & The Union Gap,
Schoolly D,
Ultravox,
ABBA,
Gang Gang Dance,
Liaisons Dangereuses,
Guru Guru,
Max Romeo,
The Shadows of Knight,
Altered Images,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.