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 1962 to 1970.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Beijing 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 Tom Verlaine 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 Eric Copeland to the jazz kids.
I played it at the 40 Watt.
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 Aaron Thompson. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal techno 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Essential Logic,
The Associates,
Marc Romboy vs. Booka Shade,
Chris Corsano,
Girls At Our Best!,
The Flesh Eaters,
June Days,
Fat Boys,
Judy Mowatt,
New Age Steppers,
Intrusion,
Qualms,
Ornette Coleman,
These Immortal Souls,
Interpol,
Shoche,
The Fall,
Anthony Braxton,
Prince Buster,
Jacques Brel,
Blake Baxter,
Rahsaan Roland Kirk,
Vaughan Mason & Crew,
Talk Talk,
Röyhkä ja Rättö ja Lehtisalo,
Pet Shop Boys,
Gary Puckett & The Union Gap,
Joyce Sims,
Eli Mardock,
Bobby Byrd,
Howard Jones,
Boz Scaggs,
Suicide,
Bootsy's Rubber Band,
The Music Machine,
Oppenheimer Analysis,
Scientists,
Ultimate Spinach,
The Knickerbockers,
Eve St. Jones,
Gabor Szabo,
Rosa Yemen,
The Trojans,
Loose Ends,
Cluster,
Manfred Mann's Earth Band,
Johnny Osbourne,
Arcadia,
Liaisons Dangereuses,
Glenn Branca,
The Buckinghams,
Malaria!,
Alton Ellis,
Crash Course in Science,
The Smoke,
Anakelly,
Angry Samoans,
The Wake,
Simply Red,
Big Daddy Kane,
Section 25, Section 25, Section 25, Section 25.
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.