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 Solomon Islands and from Beijing.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 China Crisis to the rap 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 Masters at Work. All the underground hits.
All DNA tracks. I heard you have a vinyl of every The Dave Clark Five 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
June Days,
Roxette,
Avey Tare's Slasher Flicks,
Outsiders,
Siglo XX,
Shuggie Otis,
Interpol,
Unwound,
Heavy D & The Boyz,
Eli Mardock,
Silicon Teens,
The Martian,
MDC,
Thinking Fellers Union Local 282,
June of 44,
The Techniques,
The Men They Couldn't Hang,
Con Funk Shun,
Fugazi,
Crash Course in Science,
The Monochrome Set,
Marc Romboy vs. Booka Shade,
Lucky Dragons,
A Certain Ratio,
Spandau Ballet,
Rakim,
The Tremeloes,
Vainqueur,
Alice Coltrane,
Eurythmics,
The Count Five,
Amazonics,
Sex Pistols,
Sixth Finger,
The West Coast Pop Art Experimental Band,
Black Sheep,
Notorious Big And Bone Thugs,
Peter and Kerry,
Pulsallama,
Scrapy,
Gang Green,
Theoretical Girls,
Warsaw,
Rapeman,
Mary Jane Girls,
Slick Rick,
a-ha,
Banda Bassotti,
Henry Cow,
Echo & the Bunnymen,
The Monks,
MC5,
Sparks,
Lebanon Hanover,
Larry & the Blue Notes,
Brass Construction,
Hot Snakes,
Ronan,
Clear Light,
Newcleus,
The Gories,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.