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 Swaziland and from Lille.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Madrid and Mexico City.
I'm losing my edge to the art-school Portland 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 theremin 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 Robert Hood to the punk kids.
I played it at CBGB's.
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 Doors. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Cymande 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Saccharine Trust,
Motorama,
Kango’s Stein Massive,
Interpol,
The Invisible,
Stereo Dub,
B.T. Express,
U.S. Maple,
The Fortunes,
Brick,
John Foxx,
Lou Reed & John Cale,
The United States of America,
X-101,
The Motions,
Jerry Gold Smith,
Bobby Hutcherson,
Faust,
Schoolly D,
The Blackbyrds,
Ronnie Foster,
Jacob Miller,
The Young Rascals,
Gil Scott-Heron and Jamie xx,
Urselle,
Max Romeo,
Rowland S Howard / Lydia Lunch,
Sun Ra Arkestra,
Rotary Connection,
Echospace,
Vladislav Delay,
Faraquet,
These Immortal Souls,
Cybotron,
Spandau Ballet,
Marc Romboy vs. Booka Shade,
FM Einheit,
Grey Daturas,
Ohio Players,
Pierre Henry,
Dr. Dre and Snoop Doggy Dog,
The Monks,
Peter Gordon & Love of Life Orchestra,
Malaria!,
Mission of Burma,
Barclay James Harvest,
Wings,
Radiopuhelimet,
Sparks,
Robert Wyatt,
Eric Dolphy,
Niagra,
Pere Ubu,
The Buckinghams,
The Cure,
H. Thieme,
The Gun Club,
The Red Krayola,
Altered Images,
Ultramagnetic MC's,
Ornette Coleman,
Bluetip, Bluetip, Bluetip, Bluetip.
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.