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 Netherlands and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school Jakarta 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 Notorious Big And Bone Thugs 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 Lou Reed. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every The Star Department 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Saccharine Trust,
Jimmy McGriff,
Procol Harum,
The Monochrome Set,
Gang of Four,
Rhythm & Sound,
Simply Red,
Gil Scott Heron,
Radiopuhelimet,
Young Marble Giants,
Theoretical Girls,
Black Moon,
New Order,
Joe Finger,
Pet Shop Boys,
the Slits,
Albert Ayler,
Liaisons Dangereuses,
Tres Demented,
Gabor Szabo,
China Crisis,
Arthur Verocai,
Robert Görl,
The Star Department,
EPMD,
Lakeside,
AZ,
June of 44,
Gregory Isaacs,
Byron Stingily,
The Royal Family And The Poor,
Lindisfarne,
The Mojo Men,
Aaron Thompson,
Arab on Radar,
The Litter,
Agent Orange,
Laurel Aitken,
R.M.O.,
Slick Rick,
Reagan Youth,
Drive Like Jehu,
Soul II Soul,
48th St. Collective,
Jesper Dahlbäck,
Pylon,
Isaac Hayes,
Kings Of Tomorrow,
The Knickerbockers,
Moby Grape,
The Victims,
Amon Düül,
The Red Krayola,
Deutsch Amerikanische Freundschaft,
The Moody Blues,
Janne Schatter,
Rosa Yemen,
Thinking Fellers Union Local 282,
Ossler,
Newcleus,
The Monks,
The Toasters,
the Sonics, the Sonics, the Sonics, the Sonics.
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.