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 Seychelles and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1978.
I'm losing my edge.
To all the kids in Lyon and London.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Simply Red to the punk 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 Bootsy Collins. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Circle Jerks,
Television,
Ultravox,
June of 44,
The Dead C,
PIL,
John Foxx,
Sex Pistols,
Lalann,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Parry Music,
The Five Americans,
The Skatalites,
The Tremeloes,
Eric B and Rakim,
Fort Wilson Riot,
Albert Ayler,
Youth Brigade,
Aaron Thompson,
Dorothy Ashby,
The Music Machine,
Joensuu 1685,
Nils Olav,
Groovy Waters,
Main Source,
Johnny Osbourne,
Moebius,
CMW,
Surgeon,
Man Eating Sloth,
Althea and Donna,
Gil Scott-Heron & Brian Jackson,
Reuben Wilson,
Eli Mardock,
Eyeless In Gaza,
The American Breed,
Massinfluence,
Alton Ellis,
Black Sheep,
the Normal,
Eden Ahbez,
The Cure,
Flash Fearless,
The Royal Family And The Poor,
Flipper,
Junior Murvin,
The Zeros,
KRS-One,
Jesper Dahlbäck,
Pole,
Inner City,
Beasts of Bourbon,
David Axelrod,
Young Marble Giants,
Fluxion,
Ohio Players,
The Sonics,
FM Einheit,
Oppenheimer Analysis,
Make Up,
Infiniti,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.