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 Slovenia and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Charles Mingus to the grime kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
ABC,
Echospace,
Andrew Ashong & Theo Parrish,
The Searchers,
The Offenders,
Babytalk,
Sad Lovers and Giants,
Deakin,
The Fall,
Grauzone,
The Five Americans,
F. McDonald,
John Cale,
Janne Schatter,
The Gladiators,
Roger Hodgson,
Charles Mingus,
Livin' Joy,
Bauhaus,
DeepChord presents Echospace,
The Martian,
The Neon Judgement,
Suicide,
Beasts of Bourbon,
Pantytec,
Angry Samoans,
Ten City,
Skarface,
Outsiders,
Public Image Ltd.,
Half Japanese,
The Selecter,
Stiv Bators,
Shuggie Otis,
Girls At Our Best!,
Lou Reed,
Andrew Hill,
Lonnie Liston Smith,
Fifty Foot Hose,
Heavy D & The Boyz,
Danielle Patucci,
Brick,
EPMD,
The Seeds,
Brand Nubian,
Tommy Roe,
New Order,
Oneida,
Moby Grape,
Echo & the Bunnymen,
Motorama,
Television Personalities,
Flash Fearless,
Neil Young & Crazy Horse,
New Age Steppers,
Donald Byrd,
Loose Ends,
The Vogues,
Camouflage,
Joyce Sims,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.