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 Djibouti and from Accra.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Lagos and Shanghai.
I'm losing my edge to the art-school Bremen 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Marmalade to the electroclash kids.
I played it at CBGB's.
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 Nation of Ulysses. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Grauzone 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
The Stooges,
Jeru the Damaja,
Harpers Bizarre,
Delon & Dalcan,
Jesper Dahlback,
Selector Dub Narcotic,
The Chocolate Watch Band,
Letta Mbulu,
Babytalk,
Andrew Hill,
Lucky Dragons,
Blancmange,
Lakeside,
Pole,
Slick Rick,
The Cramps,
the Germs,
Stereo Dub,
Matthew Bourne,
Bad Manners,
Malaria!,
Soft Cell,
Faust,
Excepter,
Joe Finger,
The Cowsills,
Television,
Todd Rundgren,
Graham Central Station,
Wally Richardson,
Agitation Free,
Joey Negro,
Nirvana,
The Cure,
Super Lover Cee & Casanova Rud,
Ituana,
Gichy Dan,
Sun Ra Arkestra,
Connie Case,
Lou Reed & John Cale,
Major Organ And The Adding Machine,
T. Rex,
the Human League,
Roy Ayers Ubiquity,
Essential Logic,
Judy Mowatt,
The Offenders,
Rites of Spring,
Jacques Brel,
Scion,
Red Lorry Yellow Lorry,
Electric Light Orchestra,
Duran Duran,
The Velvet Underground,
The Tremeloes,
The J.B.'s,
Ludus,
Camberwell Now,
Sixth Finger,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.