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 Iceland and from Salvador.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Manila and Milan.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 Ultra Naté to the funk kids.
I played it at CBGB's.
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 Siglo XX. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
A Flock of Seagulls,
Dual Sessions,
Barrington Levy,
Ralphi Rosario,
The Litter,
Agitation Free,
Chris Corsano,
Siglo XX,
Red Lorry Yellow Lorry,
Warren Ellis,
Alphaville,
The Sonics,
Gil Scott-Heron and Jamie xx,
Boz Scaggs,
Panda Bear,
The Sisters of Mercy,
Soft Cell,
Terrestrial Tones,
It's A Beautiful Day,
Jacob Miller,
Throbbing Gristle,
The Searchers,
Hashim,
Lou Reed & John Cale,
Arthur Verocai,
Second Layer,
Prince Buster,
Amon Düül II,
Y Pants,
Ornette Coleman,
Smog,
Crash Course in Science,
the Normal,
Grandmaster Flash,
Ultimate Spinach,
The Men They Couldn't Hang,
The Gun Club,
Dawn Penn,
Henry Cow,
La Düsseldorf,
Lalo Schifrin,
Grauzone,
Ultra Naté,
Kevin Saunderson,
The Modern Lovers,
Roy Ayers,
Lower 48,
Japan,
MDC,
Eric B and Rakim,
Magma,
Lafayette Afro Rock Band,
Terror Squad Feat. Camron,
The Invisible,
Marmalade,
Lonnie Liston Smith,
Captain Beefheart & His Magic Band,
Mary Jane Girls,
U.S. Maple,
Von Mondo,
Joyce Sims,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.