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 Georgia and from Manchester.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron 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 Graham Central Station to the crunk kids.
I played it at the Hacienda.
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 Robert Wyatt. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Gichy Dan,
London Community Gospel Choir,
Nation of Ulysses,
New York Dolls,
Scion,
Terrestrial Tones,
Y Pants,
The Fall,
Lou Reed & Metallica,
Sister Nancy,
Urselle,
Alison Limerick,
Dennis Brown,
Scratch Acid,
Bobby Womack,
Alphaville,
Brothers Johnson,
Heavy D & The Boyz,
Bauhaus,
Fluxion,
Soul Sonic Force,
Lyres,
Bobby Byrd,
X-Ray Spex,
The Durutti Column,
Radio Birdman,
Sixth Finger,
Soul II Soul,
Altered Images,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Golliwogs,
Sad Lovers and Giants,
James White and The Blacks,
Grauzone,
Marvin Gaye,
Eyeless In Gaza,
Steve Hackett,
Kerrie Biddell,
Super Lover Cee & Casanova Rud,
Danielle Patucci,
Roy Ayers,
Toni Rubio,
Spoonie Gee,
Buzzcocks,
Eurythmics,
Prince Buster,
K-Klass,
Erykah Badu,
The Pretty Things,
ABBA,
Ultravox,
Arthur Verocai,
The Gories,
Morten Harket,
Oblivians,
Essential Logic,
Joyce Sims,
John Foxx,
Yellowson,
Organ,
Royal Trux,
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.