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 Dominica and from Seoul.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Barrington Levy to the techno 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 Howard Jones. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
The Kinks,
Amon Düül II,
Los Fastidios,
Donny Hathaway,
Ten City,
Thompson Twins,
Deepchord,
The Doors,
Byron Stingily,
Neu!,
Ornette Coleman,
The Chocolate Watch Band,
Public Enemy,
Tommy Roe,
Panda Bear,
Derrick May,
Man Eating Sloth,
Moss Icon,
The Divine Comedy,
Lou Reed,
Minny Pops,
Robert Görl,
Monolake,
Al Stewart,
The Zeros,
Qualms,
Massinfluence,
Pierre Henry,
Sticky Fingaz feat. Raekwon,
Malaria!,
Howard Jones,
Banda Bassotti,
DNA,
Sandy B,
Pet Shop Boys,
Skarface,
Sunsets and Hearts,
London Community Gospel Choir,
Arthur Verocai,
Peter Gordon & Love of Life Orchestra,
Gil Scott Heron,
Jandek,
T. Rex,
Be Bop Deluxe,
World's Most,
Kerrie Biddell,
DeepChord presents Echospace,
Yellowson,
Avey Tare,
Rod Modell,
Spoonie Gee,
Kenny Larkin,
Pulsallama,
Soft Machine,
Royal Trux,
Aaron Thompson,
Connie Case,
Alphaville,
Basic Channel,
Hot Snakes,
Slick Rick,
John Lydon, John Lydon, John Lydon, John Lydon.
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.