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 Kiribati and from Mexico City.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Copenhagen.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum 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 Sonny Sharrock to the electroclash kids.
I played it at the Spitz.
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 Soft Cell. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
The J.B.'s,
Lalann,
Arthur Verocai,
Depeche Mode,
Gang of Four,
Mission of Burma,
Aural Exciters,
Erykah Badu,
Gregory Isaacs,
Pussy Galore,
Roxette,
The Peanut Butter Conspiracy,
Slave,
Ken Boothe,
Jerry's Kids,
Pet Shop Boys,
Suburban Knight,
Rotary Connection,
Basic Channel,
Judy Mowatt,
Lalo Schifrin,
the Sonics,
Alice Coltrane,
Barclay James Harvest,
Can,
Rites of Spring,
Avey Tare & Kría Brekkan,
Deutsch Amerikanische Freundschaft,
Country Joe & The Fish,
Easy Going,
Buzzcocks,
Graham Central Station,
The Gories,
Little Man,
Public Image Ltd.,
Icehouse,
Popol Vuh,
Ronnie Foster,
Delta 5,
Camouflage,
Guru Guru,
Grandmaster Flash,
Stiv Bators,
H. Thieme,
Angry Samoans,
Country Teasers,
Pantytec,
the Soft Cell,
Teenage Jesus and the Jerks,
The Mummies,
Skaos,
Gerry Rafferty,
Maleditus Sound,
The Alarm Clocks,
Girls At Our Best!,
Rufus Thomas,
Eve St. Jones,
The Offenders,
Eurythmics,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.