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 Maldives and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Portland and Lagos.
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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Kaleidoscope to the funk 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 Eden Ahbez. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Byron Stingily,
Agent Orange,
Pylon,
Tim Buckley,
Severed Heads,
Sad Lovers and Giants,
Organ,
Terror Squad Feat. Camron,
Orchestral Manoeuvres in the Dark,
Peter Gordon & Love of Life Orchestra,
Selector Dub Narcotic,
Chrome,
Ultra Naté,
Spandau Ballet,
Outsiders,
Livin' Joy,
Nik Kershaw,
The Buckinghams,
Moss Icon,
Yellowson,
Man Eating Sloth,
Teenage Jesus and the Jerks,
Yazoo,
Richard Hell and the Voidoids,
Cabaret Voltaire,
Justin Hinds & The Dominoes,
Bluetip,
Rekid,
Blossom Toes,
Adolescents,
Schoolly D,
X-Ray Spex,
Electric Light Orchestra,
Glenn Branca,
Kauko Röyhkä ja Narttu,
The Happenings,
It's A Beautiful Day,
Rhythm & Sound,
Silicon Teens,
Barrington Levy,
Crash Course in Science,
Masters at Work,
Ornette Coleman,
the Slits,
Davy DMX,
Todd Terry,
Scott Walker + Sunn O))),
Boogie Down Productions,
Sixth Finger,
Camouflage,
Saccharine Trust,
Bobby Womack,
The Misunderstood,
Josef K,
Porter Ricks,
Tomorrow,
Section 25,
Roxy Music,
Mission of Burma,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.