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 Kuwait and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Black Sheep to the grunge kids.
I played it at the Crocodile.
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 Japan. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Cal Tjader,
John Holt,
Nirvana,
Bill Near,
The Walker Brothers,
Second Layer,
Thompson Twins,
Soft Cell,
Franke,
The Selecter,
The Residents,
The Human League,
Carl Craig,
Amon Düül II,
Section 25,
Half Japanese,
Nico,
Camron Feat. Jay Z And Juelz,
Johnny Clarke,
Godley & Creme,
Isaac Hayes,
Max Romeo,
Sarah Menescal,
Black Pus,
Piero Umiliani,
Mary Jane Girls,
cv313,
Pagans,
Sällskapet,
Cameo,
Judy Mowatt,
Roxette,
Marmalade,
Stetsasonic,
Yaz,
The Divine Comedy,
Sixth Finger,
Delta 5,
Kerrie Biddell,
The Shadows of Knight,
Delon & Dalcan,
Tommy Roe,
Gary Puckett & The Union Gap,
Country Teasers,
Pole,
The Slits,
Gang Starr,
The Names,
Jeff Lynne,
Lungfish,
The Count Five,
Boredoms,
Fat Boys,
Jimmy McGriff,
The Moleskins,
The Evens,
Glenn Branca,
Amon Düül,
The Kinks,
Scientists,
Hot Snakes,
Ultramagnetic MC's,
Joy Division, Joy Division, Joy Division, Joy Division.
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.