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 St Lucia and from London.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Bill Near to the jazz kids.
I played it at CBGB's.
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 Thompson Twins. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Martian,
Michelle Simonal,
June Days,
Grauzone,
Pharoah Sanders,
Tropical Tobacco,
Glambeats Corp.,
Gian Franco Pienzio,
The Fugs,
John Cale,
Lafayette Afro Rock Band,
Nick Cave & The Bad Seeds,
X-102,
The Alarm Clocks,
Beasts of Bourbon,
The Vogues,
Animal Collective,
Johnny Clarke,
Depeche Mode,
Audionom,
Gang Starr,
Alton Ellis,
Dennis Brown,
Art Ensemble Of Chicago,
The Victims,
Deakin,
Barrington Levy,
Lebanon Hanover,
Aswad,
Von Mondo,
Davy DMX,
The New Christs,
David Axelrod,
Buzzcocks,
Icehouse,
The Five Americans,
Lou Reed,
Kas Product,
Marine Girls,
Mandrill,
The Moody Blues,
Black Flag,
AZ,
Black Bananas,
The Beau Brummels,
Oneida,
Boredoms,
Peter and Kerry,
The Dirtbombs,
Ice-T,
Lou Reed & John Cale,
Neil Young,
Thinking Fellers Union Local 282,
A Flock of Seagulls,
Red Lorry Yellow Lorry,
Girls At Our Best!,
London Community Gospel Choir,
Curtis Mayfield,
The Motions,
Flamin' Groovies,
New Order, New Order, New Order, New Order.
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.