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 Costa Rica and from Lyon.
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 1961 to 1975.
I'm losing my edge.
To all the kids in London and Lagos.
I'm losing my edge to the art-school Shanghai 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 marimba 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 The Music Machine to the grunge kids.
I played it at Trash.
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 Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Al Stewart,
Rufus Thomas,
Wolf Eyes,
Beasts of Bourbon,
The Birthday Party,
Mark Hollis,
Scion,
Barclay James Harvest,
48th St. Collective,
Crime,
Patti Smith,
The Jesus and Mary Chain,
Prince Buster,
Newcleus,
Nick Fraelich,
Juan Atkins,
Barbara Tucker,
Bizarre Inc.,
the Slits,
Bill Wells,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Flash Fearless,
Silicon Teens,
Black Bananas,
The Invisible,
Faust,
Terry Callier,
Radiopuhelimet,
Gerry Rafferty,
Cluster,
Sun Ra,
David Bowie,
the Soft Cell,
DJ Sneak,
The Pretty Things,
Deakin,
The Toasters,
One Last Wish,
Franke,
Ajijia Myrayebe,
Laurel Aitken,
Talk Talk,
Eden Ahbez,
The Residents,
Bobby Sherman,
Crispian St. Peters,
Grandmaster Flash,
Toni Rubio,
Peter and Kerry,
Hardrive,
Gary Puckett & The Union Gap,
Sandy B,
The Velvet Underground,
Delta 5,
Gabor Szabo,
Bang On A Can,
Altered Images,
Essential Logic,
Zapp,
Buzzcocks,
The Litter, The Litter, The Litter, The Litter.
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.