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 Somalia and from Seoul.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Spokane and Shanghai.
I'm losing my edge to the art-school Manchester 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Althea and Donna to the punk 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 Crispy Ambulance. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every The Gories 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Notorious BIG live in Amsterdam,
Siouxsie and the Banshees,
Aural Exciters,
Tropical Tobacco,
Liaisons Dangereuses,
Michelle Simonal,
Kas Product,
The Trojans,
Scratch Acid,
The Cowsills,
Country Teasers,
Tears for Fears,
Dorothy Ashby,
Alphaville,
R.M.O.,
8 Eyed Spy,
Scion,
Faust,
Urselle,
Scott Walker + Sunn O))),
Jacques Brel,
Derrick Morgan,
The Victims,
Blancmange,
John Foxx,
Lou Reed & John Cale,
Davy DMX,
The Sonics,
Can,
The Tremeloes,
Kaleidoscope,
The Blues Magoos,
Clear Light,
Jandek,
AZ,
The Five Americans,
The Walker Brothers,
Pierre Henry,
Justin Hinds & The Dominoes,
Frankie Knuckles,
The Smoke,
Freddie Wadling,
Johnny Osbourne,
Kurtis Blow,
The Zeros,
Country Joe & The Fish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Absolute Body Control,
Sarah Menescal,
Tubeway Army,
Hardrive,
Toni Rubio,
Bush Tetras,
Cybotron,
Funkadelic,
Deepchord,
Lee Hazlewood,
Malaria!,
Arthur Verocai,
The Pop Group,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.