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 Mauritius and from London.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Mexico City 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 guitar 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 Deepchord to the electroclash 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 Major Organ And The Adding Machine. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dr. Dre and Snoop Doggy Dog,
Marshall Jefferson,
The Gap Band,
Cal Tjader,
Morten Harket,
The Monks,
The Divine Comedy,
David McCallum,
Blancmange,
Dorothy Ashby,
Gil Scott-Heron & Brian Jackson,
The Angels of Light,
Supertramp,
The Remains,
Saccharine Trust,
Talk Talk,
Hot Snakes,
Roy Ayers Ubiquity,
Fugazi,
Hardrive,
Connie Case,
Inner City,
The Alarm Clocks,
Sister Nancy,
Delon & Dalcan,
Chris Corsano,
R.M.O.,
F. McDonald,
Sunsets and Hearts,
Echospace,
Agitation Free,
Sällskapet,
Negative Approach,
Reagan Youth,
Fort Wilson Riot,
Anakelly,
ABC,
Lou Christie,
Ken Boothe,
Ultra Naté,
Orchestral Manoeuvres in the Dark,
Schoolly D,
Quantec,
Bob Dylan,
The Stooges,
The Gories,
The J.B.'s,
Subhumans,
Steve Hackett,
Shuggie Otis,
Quando Quango,
Tres Demented,
Underground Resistance,
Major Organ And The Adding Machine,
Country Joe & The Fish,
The Five Americans,
Throbbing Gristle,
Josef K,
CMW,
Bobbi Humphrey,
Nils Olav,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.