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 St Lucia and from Glasgow.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Lyon 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Oneida to the jazz 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 Soul Sonic Force. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
World's Most,
Sugar Minott,
Aloha Tigers,
Suburban Knight,
Major Organ And The Adding Machine,
Pete Rock & C.L. Smooth,
Pere Ubu,
Spandau Ballet,
Chrome,
Jeff Mills,
Ohio Players,
Fela Kuti,
Skriet,
Eli Mardock,
Bobby Hutcherson,
Agitation Free,
Jawbox,
Ossler,
Visage,
Negative Approach,
Bauhaus,
The Alarm Clocks,
Simply Red,
Eric Dolphy,
Marc Romboy vs. Booka Shade,
Josef K,
Lucky Dragons,
James White and The Blacks,
Nick Fraelich,
The Monks,
Eyeless In Gaza,
Tomorrow,
Be Bop Deluxe,
Cluster,
June Days,
Alison Limerick,
Prince Buster,
Flamin' Groovies,
Sun Ra Arkestra,
Rotary Connection,
Kool Moe Dee,
The Associates,
The Cramps,
Minor Threat,
The Red Krayola,
Flash Fearless,
Lungfish,
Connie Case,
R.M.O.,
Nick Cave & The Bad Seeds,
Oblivians,
Jimmy McGriff,
Max Romeo,
Freddie Wadling,
The Searchers,
Arcadia,
Selector Dub Narcotic,
the Slits,
Camouflage,
Warsaw,
Franke,
ABBA,
UT, UT, UT, UT.
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.