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 Afghanistan and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Madrid 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 Holger Czukay 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 Marc Almond to the rock kids.
I played it at the Roxy.
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 Normal. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every David McCallum record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Kerri Chandler,
Nick Cave & The Bad Seeds,
Avey Tare's Slasher Flicks,
Ludus,
Supertramp,
Richard Hell and the Voidoids,
The Walker Brothers,
Cybotron,
The New Christs,
Sexual Harrassment,
Minor Threat,
Mad Mike,
Ultra Naté,
Donald Byrd,
Reagan Youth,
Larry & the Blue Notes,
Roy Ayers Ubiquity,
Gregory Isaacs,
the Germs,
Rotary Connection,
Mission of Burma,
The Five Americans,
Dawn Penn,
Bill Near,
Joey Negro,
The Count Five,
Lower 48,
Visionaries,LMNO, T- Love & Iriscience,
the Association,
Lizzy Mercier Descloux,
Throbbing Gristle,
Dark Day,
The Red Krayola,
Arthur Verocai,
Tom Boy,
Neil Young,
Royal Trux,
Byron Stingily,
Whodini,
Talk Talk,
Stereo Dub,
Spandau Ballet,
Eve St. Jones,
Boogie Down Productions,
Erasure,
London Community Gospel Choir,
Amon Düül,
Kauko Röyhkä ja Narttu,
Agent Orange,
Panda Bear,
The Detroit Cobras,
Bobbi Humphrey,
The Invisible,
Slick Rick,
Charles Mingus,
Ajijia Myrayebe,
Guru Guru,
Wire,
48th St. Collective,
Max Romeo,
Second Layer,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.