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 Armenia and from Portland.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Johannesburg.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Stiv Bators to the jazz kids.
I played it at the Crocodile.
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 Erasure. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
The Walker Brothers,
Hashim,
The Index,
Amazonics,
Barclay James Harvest,
The Barracudas,
Big Daddy Kane,
Cecil Taylor,
Colin Newman,
Soft Cell,
Icehouse,
Rites of Spring,
F. McDonald,
Nas,
Jeff Lynne,
Minutemen,
Notorious BIG live in Amsterdam,
John Cale,
Deutsch Amerikanische Freundschaft,
Anthony Braxton,
the Soft Cell,
Sex Pistols,
Goldenarms,
Crispian St. Peters,
Drexciya,
Liliput,
Sparks,
Whodini,
The Vogues,
Gastr Del Sol,
The Dead C,
Zapp,
Oppenheimer Analysis,
The Gap Band,
Dual Sessions,
Grauzone,
The Angels of Light,
Johnny Osbourne,
Echospace,
Fluxion,
Alison Limerick,
The Monochrome Set,
Scratch Acid,
Silicon Teens,
Oblivians,
Lalann,
Major Organ And The Adding Machine,
Stetsasonic,
Schoolly D,
Bobby Womack,
Sister Nancy,
Bobbi Humphrey,
The Associates,
Tomorrow,
The Durutti Column,
Depeche Mode,
Visage,
Niagra,
China Crisis,
Absolute Body Control,
Pere Ubu,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.