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 Micronesia and from Stockholm.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school London 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the 808 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 Roy Ayers Ubiquity to the rap kids.
I played it at the Astoria.
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 Glambeats Corp.. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Patti Smith,
F. McDonald,
Bootsy's Rubber Band,
Young Marble Giants,
World's Most,
Oppenheimer Analysis,
Audionom,
The Durutti Column,
Tom Boy,
Nirvana,
Crash Course in Science,
Connie Case,
Clear Light,
The Chocolate Watch Band,
June Days,
the Bar-Kays,
Thompson Twins,
Judy Mowatt,
Sonny Sharrock,
JFA,
Ronan,
Sparks,
The Fugs,
Sam Rivers,
The Buckinghams,
Wally Richardson,
Radiohead,
Soulsonic Force,
Terry Callier,
Minor Threat,
The Fire Engines,
Robert Görl,
AZ,
Fifty Foot Hose,
Matthew Halsall,
Pussy Galore,
London Community Gospel Choir,
Mr. Review,
Marine Girls,
The Smiths,
Crooked Eye,
James Chance & The Contortions,
The Moody Blues,
The Music Machine,
Wings,
Howard Jones,
Rod Modell,
Hasil Adkins,
Magazine,
Desert Stars,
The Vogues,
Public Enemy,
Laurel Aitken,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Cramps,
Shoche,
Freddie Wadling,
the Association,
Goldenarms,
Interpol,
Rotary Connection,
Scion,
Black Flag,
CMW, CMW, CMW, CMW.
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.