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 Latvia and from Mumbai.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Salvador 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 at the first Suicide practice in a loft in New York.
I was working on the snare 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 The Litter to the funk kids.
I played it at the Roxy.
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 The Fire Engines. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Gabor Szabo,
Aaron Thompson,
F. McDonald,
Flipper,
Brick,
David McCallum,
Wire,
Cabaret Voltaire,
Bang On A Can,
Interpol,
Sixth Finger,
Lonnie Liston Smith,
Negative Approach,
Selector Dub Narcotic,
Marcia Griffiths,
Warsaw,
Laurel Aitken,
Arthur Verocai,
Cheater Slicks,
Second Layer,
Livin' Joy,
Mission of Burma,
Radiopuhelimet,
Swans,
The Selecter,
Sarah Menescal,
Mr. Review,
Strawberry Alarm Clock,
Little Man,
Kool G Rap & DJ Polo,
Eli Mardock,
Tears for Fears,
Los Fastidios,
The Star Department,
Fat Boys,
Andrew Ashong & Theo Parrish,
The Cowsills,
Kaleidoscope,
Neu!,
Robert Hood,
Sugar Minott,
The Monks,
Marc Almond,
Throbbing Gristle,
Ultra Naté,
Vaughan Mason & Crew,
Goldenarms,
Patti Smith,
Glambeats Corp.,
Deepchord,
Sound Behaviour,
Alison Limerick,
Stetsasonic,
Echospace,
Lou Christie,
The Raincoats,
Bobby Sherman,
Outsiders,
The Fire Engines,
Con Funk Shun,
Lalo Schifrin,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.