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 Djibouti and from Milan.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar 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 Michelle Simonal to the techno kids.
I played it at the Crocodile.
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 Dual Sessions. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Lee Hazlewood,
Jimmy McGriff,
Scion,
Vladislav Delay,
Sun Ra,
Eric B and Rakim,
Qualms,
Mantronix,
Public Enemy,
Average White Band,
The Litter,
Babytalk,
The Cramps,
Fela Kuti,
Brand Nubian,
Half Japanese,
Todd Terry,
Faraquet,
Jeff Lynne,
The Remains,
Duran Duran,
Nas,
The Happenings,
Juan Atkins,
Flamin' Groovies,
James White and The Blacks,
The Mojo Men,
Tomorrow,
The Jesus and Mary Chain,
Stiv Bators,
Hasil Adkins,
Steve Hackett,
The J.B.'s,
Niagra,
Mo-Dettes,
Black Moon,
Adolescents,
Desert Stars,
Khruangbin,
Soul Sonic Force,
Joy Division,
Bush Tetras,
Sällskapet,
Cheater Slicks,
Gian Franco Pienzio,
Jandek,
Popol Vuh,
Strawberry Alarm Clock,
Joe Finger,
The Men They Couldn't Hang,
Gregory Isaacs,
Lebanon Hanover,
The Leaves,
The Evens,
The Pretty Things,
Nation of Ulysses,
Wings,
Ultravox,
Roy Ayers,
The Fuzztones,
Ice-T, Ice-T, Ice-T, Ice-T.
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.