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 Australia and from Johannesburg.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Taipei and Spokane.
I'm losing my edge to the art-school Bologna 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Tremeloes to the electroclash 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 Idris Muhammad. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence 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?
Mo-Dettes,
Tubeway Army,
Barclay James Harvest,
Amon Düül II,
Steve Hackett,
Henry Cow,
the Sonics,
Shoche,
Eric Copeland,
Dual Sessions,
Wighnomy Brothers & Robag Wruhme,
Kings Of Tomorrow,
Radio Birdman,
Crispy Ambulance,
Camberwell Now,
Youth Brigade,
Bauhaus,
Sight & Sound,
The Evens,
Minnie Riperton,
Easy Going,
48th St. Collective,
Curtis Mayfield,
Bad Manners,
Eden Ahbez,
Ajijia Myrayebe,
Gil Scott-Heron & Brian Jackson,
The Standells,
Idris Muhammad,
The Happenings,
Barrington Levy,
The Offenders,
D'Angelo,
The Cowsills,
Cymande,
Wally Richardson,
Black Flag,
X-101,
Massinfluence,
The Cure,
Little Man,
Johnny Osbourne,
The Velvet Underground,
Parry Music,
Rapeman,
Gang Green,
Monolake,
Derrick Morgan,
Scientists,
Derrick May,
These Immortal Souls,
Junior Murvin,
Gang Gang Dance,
A Certain Ratio,
Cal Tjader,
Lalo Schifrin,
The Associates,
The Zeros,
Minor Threat,
Fort Wilson Riot,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.