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 Cape Verde and from Copenhagen.
But I was there.
I was there in .
I was there at the first Suicide 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 1963 to 1974.
I'm losing my edge.
To all the kids in Manchester and Manila.
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 sitar 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 Max Romeo to the grime kids.
I played it at the Troubador.
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 Move. All the underground hits.
All Tropical Tobacco 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 grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Kool Moe Dee,
Kevin Saunderson,
The Gun Club,
Lungfish,
Oppenheimer Analysis,
Sixth Finger,
The Leaves,
Youth Brigade,
CMW,
Piero Umiliani,
Q and Not U,
Moby Grape,
Ohio Players,
Dawn Penn,
Kango’s Stein Massive,
Isaac Hayes,
The Cosmic Jokers,
the Soft Cell,
Ash Ra Tempel,
Pussy Galore,
The Knickerbockers,
This Heat,
Leonard Cohen,
Skaos,
Juan Atkins,
the Swans,
Frankie Knuckles,
Bobbi Humphrey,
F. McDonald,
The West Coast Pop Art Experimental Band,
Bobby Hutcherson,
Sarah Menescal,
The Smiths,
Gian Franco Pienzio,
Inner City,
Newcleus,
Aswad,
DeepChord presents Echospace,
Barbara Tucker,
The Raincoats,
The Real Kids,
Second Layer,
Shuggie Otis,
Amon Düül,
The Motions,
Darondo,
Porter Ricks,
Mantronix,
The American Breed,
Pagans,
Heaven 17,
Deutsch Amerikanische Freundschaft,
Ituana,
Slave,
B.T. Express,
Althea and Donna,
Wire,
London Community Gospel Choir,
Accadde A,
Technova,
The Skatalites,
Bang on a Can All-Stars,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.