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 Turkmenistan and from Houston.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Paris and Jakarta.
I'm losing my edge to the art-school Accra 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 808 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 Aaron Thompson to the electroclash kids.
I played it at the Troubador.
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 Aloha Tigers. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Rekid,
Deutsch Amerikanische Freundschaft,
Japan,
Beasts of Bourbon,
Nik Kershaw,
Tropical Tobacco,
Oppenheimer Analysis,
The Offenders,
the Swans,
FM Einheit,
The J.B.'s,
Echospace,
The Jesus and Mary Chain,
Angry Samoans,
Model 500,
Man Eating Sloth,
Dark Day,
The Busters,
Althea and Donna,
The Saints,
Godley & Creme,
Brothers Johnson,
Gerry Rafferty,
The Cowsills,
Brand Nubian,
Rapeman,
Electric Prunes,
Tomorrow,
The Invisible,
Von Mondo,
The Modern Lovers,
Technova,
Television Personalities,
Procol Harum,
Whodini,
Sun Ra Arkestra,
Amazonics,
Stiv Bators,
Pharaoh Sanders and the Fire Engines,
Lucky Dragons,
Marmalade,
Essential Logic,
Soft Machine,
KRS-One,
The Detroit Cobras,
Jeru the Damaja,
Jimmy McGriff,
Lonnie Liston Smith,
Erasure,
The Dave Clark Five,
The Electric Prunes,
Liaisons Dangereuses,
Marshall Jefferson,
Judy Mowatt,
Grey Daturas,
Justin Hinds & The Dominoes,
Lou Christie,
Sun Ra,
The Misunderstood,
Dual Sessions,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.