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 Australia and from Glasgow.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Calgary 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 spring reverb 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 Carl Craig to the electroclash kids.
I played it at the Troubador.
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 Minutemen. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Stiv Bators 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls 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?
The Fall,
Danielle Patucci,
Larry & the Blue Notes,
Gichy Dan,
Notorious BIG live in Amsterdam,
Letta Mbulu,
John Lydon,
Jesper Dahlback,
Cal Tjader,
Man Parrish,
48th St. Collective,
Henry Cow,
Wings,
Thinking Fellers Union Local 282,
Unwound,
Wighnomy Brothers & Robag Wruhme,
Dorothy Ashby,
Grandmaster Flash,
Lee Hazlewood,
The Monochrome Set,
Joey Negro,
The Angels of Light,
JFA,
Super Lover Cee & Casanova Rud,
Rhythm & Sound,
Scion,
Amazonics,
Funky Four + One,
Heavy D & The Boyz,
Althea and Donna,
The Birthday Party,
The Offenders,
Skaos,
Shuggie Otis,
Sister Nancy,
Louis and Bebe Barron,
The Grass Roots,
Black Flag,
The Cramps,
Bob Dylan,
Sun Ra Arkestra,
the Slits,
The Seeds,
DJ Sneak,
the Germs,
Organ,
The Pop Group,
Aaron Thompson,
Rotary Connection,
Cybotron,
Anakelly,
Bronski Beat,
Major Organ And The Adding Machine,
Dark Day,
Quantec,
Joe Finger,
The Zeros,
Morten Harket,
Supertramp,
Simply Red,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.