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 Tajikistan and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Tehran 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Litter to the funk kids.
I played it at the Roxy.
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 Average White Band. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Youth Brigade,
David Bowie,
Prince Buster,
Isaac Hayes,
The Fire Engines,
Shuggie Otis,
Terror Squad Feat. Camron,
Inner City,
The Wake,
Camberwell Now,
Roxette,
Underground Resistance,
Cabaret Voltaire,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wire,
Sällskapet,
Visage,
Excepter,
Symarip,
Oblivians,
Bauhaus,
China Crisis,
Minny Pops,
Los Fastidios,
Joe Smooth,
Rekid,
The Electric Prunes,
In Retrospect,
Kauko Röyhkä ja Narttu,
Television Personalities,
The Fuzztones,
The Blues Magoos,
Sun City Girls,
Jacob Miller,
Bobby Sherman,
The Seeds,
Notorious BIG live in Amsterdam,
Joy Division,
Anthony Braxton,
Thee Headcoats,
The Jesus and Mary Chain,
The Sonics,
Boredoms,
Ken Boothe,
Duran Duran,
Y Pants,
Kevin Saunderson,
The Black Dice,
The Pop Group,
This Heat,
Soft Cell,
cv313,
Howard Jones,
Swans,
The Toasters,
Con Funk Shun,
Essential Logic,
The Selecter,
Danielle Patucci,
New York Dolls,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.