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 Peru and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Toronto and Calgary.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Star Department to the jazz 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 Groovy Waters. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal dance 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 a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Loose Ends,
The Seeds,
X-101,
Eurythmics,
Girls At Our Best!,
Marc Romboy vs. Booka Shade,
Connie Case,
The Sound,
Nils Olav,
London Community Gospel Choir,
Visage,
Ultra Naté,
The Doobie Brothers,
The United States of America,
The Pretty Things,
New Age Steppers,
Kaleidoscope,
Sly & The Family Stone,
Urselle,
Pharaoh Sanders and the Fire Engines,
Gregory Isaacs,
Q65,
Iggy Pop,
Lebanon Hanover,
Crooked Eye,
The Move,
Black Bananas,
The Raincoats,
Harmonia,
DJ Style,
Barbara Tucker,
Eric B and Rakim,
Saccharine Trust,
The Last Poets,
Electric Light Orchestra,
The Mojo Men,
the Human League,
Ultramagnetic MC's,
Ajijia Myrayebe,
Soft Machine,
Monolake,
The Pop Group,
The Fall,
Amon Düül II,
John Foxx,
Vaughan Mason & Crew,
U.S. Maple,
Unrelated Segments,
Second Layer,
One Last Wish,
Radiopuhelimet,
Robert Hood,
Minutemen,
Mr. Review,
Wire,
Hardrive,
Das Ding,
Gil Scott-Heron and Jamie xx,
Qualms,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.