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 Belarus and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Beijing 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Alton Ellis to the electroclash 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 Peter and Kerry. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
UT,
The Move,
T.S.O.L.,
Ultramagnetic MC's,
Soft Machine,
Sight & Sound,
the Human League,
Sex Pistols,
Strawberry Alarm Clock,
Maleditus Sound,
cv313,
The Searchers,
John Foxx,
Mantronix,
Throbbing Gristle,
The Blackbyrds,
Suicide,
Jacques Brel,
Audionom,
Chrome,
Pantytec,
Bobbi Humphrey,
Drexciya,
The Young Rascals,
Hot Snakes,
E-Dancer,
Vaughan Mason & Crew,
kango's stein massive,
Sixth Finger,
The Leaves,
Ajijia Myrayebe,
The Angels of Light,
Suburban Knight,
Con Funk Shun,
Bauhaus,
Rotary Connection,
The Toasters,
Eric Copeland,
Infiniti,
The Gladiators,
Accadde A,
Don Cherry,
It's A Beautiful Day,
Radio Birdman,
MC5,
Junior Murvin,
Terry Callier,
Flipper,
Teenage Jesus and the Jerks,
Rites of Spring,
Pharaoh Sanders and the Fire Engines,
Skriet,
Qualms,
Gregory Isaacs,
The J.B.'s,
the Swans,
Jandek,
James Chance & The Contortions,
World's Most, World's Most, World's Most, World's Most.
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.