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 Sierra Leone and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Cairo 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 linndrum 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 Harmonia to the punk kids.
I played it at Trash.
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 Second Layer. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Lizzy Mercier Descloux,
Q65,
Funkadelic,
It's A Beautiful Day,
Anthony Braxton,
Infiniti,
Clear Light,
Fear,
Pere Ubu,
Circle Jerks,
Angry Samoans,
Marmalade,
The Modern Lovers,
The Mummies,
Althea and Donna,
Kango’s Stein Massive,
Eli Mardock,
The Toasters,
Rites of Spring,
The Remains,
Parry Music,
Crispy Ambulance,
The Doobie Brothers,
Richard Hell and the Voidoids,
Warsaw,
Basic Channel,
Can,
Ornette Coleman,
Cal Tjader,
The Walker Brothers,
Eric Dolphy,
F. McDonald,
Scion,
Dual Sessions,
The Real Kids,
Siouxsie and the Banshees,
Kings Of Tomorrow,
Ash Ra Tempel,
James Chance & The Contortions,
The Black Dice,
Radiohead,
Roxette,
Mantronix,
X-Ray Spex,
Robert Wyatt,
The Mojo Men,
Kerrie Biddell,
Depeche Mode,
Nico,
Drive Like Jehu,
Junior Murvin,
DJ Style,
Von Mondo,
Loose Ends,
Yusef Lateef,
Aural Exciters,
Soft Machine,
Yazoo,
Faust,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.