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 Egypt and from Mumbai.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Tehran 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Suburban Knight to the grime 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 Sunsets and Hearts. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Mars,
Slick Rick,
Todd Terry,
Nik Kershaw,
Janne Schatter,
World's Most,
The Raincoats,
Crash Course in Science,
Tim Buckley,
Letta Mbulu,
Jacques Brel,
Mantronix,
Lindisfarne,
Kauko Röyhkä ja Narttu,
Motorama,
Lizzy Mercier Descloux,
Avey Tare's Slasher Flicks,
Bob Dylan,
Josef K,
London Community Gospel Choir,
The Fire Engines,
Inner City,
The Gun Club,
Selector Dub Narcotic,
Gregory Isaacs,
Bad Manners,
Derrick Morgan,
The Doobie Brothers,
Underground Resistance,
Pantaleimon,
Radiopuhelimet,
Toni Rubio,
Shoche,
Rakim,
Organ,
John Coltrane,
Gil Scott-Heron and Jamie xx,
The Fortunes,
Fifty Foot Hose,
Liliput,
E-Dancer,
Magazine,
Lou Reed & Metallica,
Carl Craig,
The Neon Judgement,
Ken Boothe,
The Young Rascals,
Boredoms,
Maleditus Sound,
Röyhkä ja Rättö ja Lehtisalo,
Deakin,
Marc Romboy vs. Booka Shade,
The Dead C,
Peter and Kerry,
Skriet,
The Evens,
Donald Byrd,
Steve Hackett,
Crispian St. Peters,
Orchestral Manoeuvres in the Dark,
Gong,
Lalann,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.