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 Cambodia and from New York.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Jakarta 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Super Lover Cee & Casanova Rud to the dance kids.
I played it at the 40 Watt.
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 Red Lorry Yellow Lorry. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Index,
Ludus,
The Grass Roots,
The Music Machine,
Gil Scott-Heron & Brian Jackson,
The Toasters,
Joe Smooth,
Excepter,
Angry Samoans,
Pagans,
Mars,
Liliput,
Bauhaus,
The West Coast Pop Art Experimental Band,
The Victims,
Rotary Connection,
New York Dolls,
Todd Terry,
Masters at Work,
Ronan,
Byron Stingily,
JFA,
The Detroit Cobras,
Aswad,
Gian Franco Pienzio,
The Skatalites,
Be Bop Deluxe,
Joey Negro,
Fatback Band,
Aloha Tigers,
Deakin,
Siglo XX,
Ultravox,
Jesper Dahlbäck,
Soft Cell,
Laurel Aitken,
Surgeon,
Judy Mowatt,
Livin' Joy,
Scott Walker,
Absolute Body Control,
Roxette,
Carl Craig,
The Beau Brummels,
Sam Rivers,
Eric B and Rakim,
Prince Buster,
Model 500,
Marcia Griffiths,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Das Ding,
Orchestral Manoeuvres in the Dark,
Kool Moe Dee,
Gregory Isaacs,
Oblivians,
48th St. Collective,
Crooked Eye,
the Association,
Pere Ubu,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.