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 Albania and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Toronto.
I'm losing my edge to the art-school Mumbai 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 marimba 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 The Count Five to the electroclash kids.
I played it at Trash.
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 Soul II Soul. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal rock 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 a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Nick Cave & The Bad Seeds,
Ronan,
Vladislav Delay,
Camouflage,
Joyce Sims,
Los Fastidios,
The Angels of Light,
David McCallum,
Make Up,
Tommy Roe,
Ajijia Myrayebe,
Aswad,
Jimmy McGriff,
Roy Ayers,
Donny Hathaway,
Jeru the Damaja,
The Smiths,
Mad Mike,
Patti Smith,
The Motions,
Notorious Big And Bone Thugs,
Sound Behaviour,
London Community Gospel Choir,
Sarah Menescal,
Barclay James Harvest,
Camberwell Now,
The Sonics,
Louis and Bebe Barron,
the Soft Cell,
Infiniti,
Heavy D & The Boyz,
Donald Byrd,
The Count Five,
Motorama,
Sparks,
Henry Cow,
Marc Romboy vs. Booka Shade,
Alice Coltrane,
Bobbi Humphrey,
FM Einheit,
The Litter,
Neu!,
Symarip,
Ituana,
Thinking Fellers Union Local 282,
Black Moon,
Bang on a Can All-Stars,
Saccharine Trust,
Rotary Connection,
Bluetip,
Scott Walker,
the Normal,
Lizzy Mercier Descloux,
Minutemen,
Siglo XX,
Traffic Nightmare,
Cymande,
Boz Scaggs,
Jacques Brel,
Agent Orange,
John Foxx, John Foxx, John Foxx, John Foxx.
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.