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 Antigua and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Tokyo 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 snare sounds with much patience.
I was there when Donald Fagen 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 Tom Boy to the jazz 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 The Birthday Party. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Eric B and Rakim,
Ken Boothe,
Man Parrish,
Gian Franco Pienzio,
the Sonics,
The Slits,
Monks,
Bizarre Inc.,
Cal Tjader,
Kurtis Blow,
Richard Hell and the Voidoids,
Buzzcocks,
Barry Ungar,
Eden Ahbez,
Girls At Our Best!,
JFA,
The Slackers,
Public Image Ltd.,
Inner City,
Davy DMX,
Lalo Schifrin,
Hot Snakes,
Wally Richardson,
Lindisfarne,
The Five Americans,
Franke,
Grauzone,
Yusef Lateef,
Delon & Dalcan,
The Black Dice,
Sad Lovers and Giants,
Tommy Roe,
A Certain Ratio,
Talk Talk,
The Beau Brummels,
Scrapy,
48th St. Collective,
Aural Exciters,
Swans,
Thinking Fellers Union Local 282,
The Move,
Fifty Foot Hose,
Albert Ayler,
Bang On A Can,
Monolake,
Ituana,
Y Pants,
Michelle Simonal,
Jeff Lynne,
The Fall,
Steve Hackett,
Eve St. Jones,
Mark Hollis,
The Seeds,
Joy Division,
Rites of Spring,
Roy Ayers,
Fluxion,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.