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 Korea South and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Human League to the funk kids.
I played it at Trash.
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 Clear Light. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Essential Logic,
The Black Dice,
Jerry Gold Smith,
Los Fastidios,
Visage,
Aloha Tigers,
Mad Mike,
Spandau Ballet,
Alison Limerick,
Boredoms,
A Certain Ratio,
K-Klass,
The Men They Couldn't Hang,
The Dirtbombs,
the Sonics,
The Names,
June of 44,
Liliput,
The Fire Engines,
The Count Five,
Basic Channel,
Rhythim Is Rhythim,
Camouflage,
T. Rex,
Nik Kershaw,
Pantytec,
Tropical Tobacco,
Delon & Dalcan,
Roxette,
Bang On A Can,
Althea and Donna,
Whodini,
Barbara Tucker,
The Tremeloes,
The American Breed,
Japan,
Yellowson,
Rhythm & Sound,
Cluster,
Andrew Hill,
The Music Machine,
AZ,
Scratch Acid,
Kauko Röyhkä ja Narttu,
Scion,
Todd Rundgren,
Gabor Szabo,
Kenny Larkin,
China Crisis,
The Moleskins,
Negative Approach,
Lower 48,
The Slackers,
Trumans Water,
Outsiders,
James Chance & The Contortions,
Crooked Eye,
JFA,
Pussy Galore,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.