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 Uganda and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Underground Resistance to the punk 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 cv313. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
The Beau Brummels,
Richard Hell and the Voidoids,
the Germs,
Jandek,
Jerry's Kids,
The Seeds,
Gil Scott Heron,
Bootsy's Rubber Band,
Lalo Schifrin,
Fluxion,
the Slits,
Bobbi Humphrey,
Symarip,
Saccharine Trust,
Bad Manners,
48th St. Collective,
Beasts of Bourbon,
Crime,
10cc,
Vainqueur,
Glenn Branca,
Archie Shepp,
Orchestral Manoeuvres in the Dark,
Wasted Youth,
Icehouse,
Pet Shop Boys,
the Soft Cell,
Y Pants,
Scientists,
Isaac Hayes,
Echo & the Bunnymen,
Buzzcocks,
Yusef Lateef,
Moss Icon,
PIL,
Camberwell Now,
Oneida,
Minnie Riperton,
Thompson Twins,
Juan Atkins,
The Techniques,
Negative Approach,
Soulsonic Force,
Yazoo,
Minutemen,
Soul Sonic Force,
The Residents,
L. Decosne,
The Toasters,
La Düsseldorf,
Sex Pistols,
Jesper Dahlbäck,
Intrusion,
The Birthday Party,
Kings Of Tomorrow,
The Knickerbockers,
Letta Mbulu,
Rapeman,
Flamin' Groovies,
Brick,
Be Bop Deluxe,
Joe Smooth,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.