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 Nauru and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Philadelphia 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 organ 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 Sound Behaviour to the punk 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 Lebanon Hanover. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Sällskapet 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 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
John Lydon,
L. Decosne,
Sarah Menescal,
Crooked Eye,
The Selecter,
Ohio Players,
Spoonie Gee,
Scion,
Marc Romboy vs. Booka Shade,
Zero Boys,
Bobby Sherman,
Black Flag,
Lou Reed & John Cale,
Man Eating Sloth,
Big Daddy Kane,
Lower 48,
In Retrospect,
Dark Day,
The Alarm Clocks,
Television,
The Knickerbockers,
Matthew Halsall,
The Peanut Butter Conspiracy,
Gang of Four,
Fort Wilson Riot,
Shuggie Otis,
Wire,
Section 25,
Bill Near,
Chris Corsano,
The Mighty Diamonds,
Agent Orange,
Scott Walker + Sunn O))),
Stiv Bators,
Amazonics,
Magma,
Arcadia,
Boredoms,
The Remains,
Urselle,
Ice-T,
Eden Ahbez,
David McCallum,
London Community Gospel Choir,
Lonnie Liston Smith,
Dennis Brown,
Lou Christie,
Roxy Music,
Joensuu 1685,
ABBA,
Judy Mowatt,
The Neon Judgement,
Tim Buckley,
The Martian,
Fatback Band,
Terry Callier,
Oblivians,
The Shadows of Knight,
Alison Limerick,
Marmalade, Marmalade, Marmalade, Marmalade.
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.