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 Cyprus and from Philadelphia.
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 Salvador and Salvador.
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 oboe sounds with much patience.
I was there when David Bowie 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 the Association to the disco 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 Andrew Ashong & Theo Parrish. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every The Saints 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Guru Guru,
Pantaleimon,
Wighnomy Brothers & Robag Wruhme,
Maurizio,
Peter and Kerry,
Lower 48,
Buzzcocks,
Fifty Foot Hose,
John Cale,
Jerry's Kids,
Desert Stars,
Lucky Dragons,
The Skatalites,
Prince Buster,
The Standells,
The Birthday Party,
The Cure,
Chrome,
The Searchers,
Jeru the Damaja,
Gian Franco Pienzio,
Isaac Hayes,
R.M.O.,
Mary Jane Girls,
Young Marble Giants,
Dorothy Ashby,
The Names,
Moby Grape,
Sixth Finger,
The Peanut Butter Conspiracy,
FM Einheit,
Deakin,
The Divine Comedy,
Slick Rick,
Glenn Branca,
Ten City,
Hardrive,
The Motions,
Pierre Henry,
Soft Machine,
The Human League,
OOIOO,
Notorious BIG live in Amsterdam,
Bush Tetras,
Stereo Dub,
Ronan,
Adolescents,
DNA,
Avey Tare & Kría Brekkan,
The United States of America,
Sparks,
Brand Nubian,
Rod Modell,
Roxy Music,
The Slits,
The Fortunes,
The Pretty Things,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.