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 Indonesia and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Portland 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 güiro 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 The Pop Group to the grime kids.
I played it at the Hacienda.
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 The Skatalites. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Sunsets and Hearts,
One Last Wish,
China Crisis,
DNA,
Groovy Waters,
Quando Quango,
Livin' Joy,
Half Japanese,
Gastr Del Sol,
the Soft Cell,
Mad Mike,
Wolf Eyes,
Brothers Johnson,
Traffic Nightmare,
Suicide,
Freddie Wadling,
Grandmaster Flash and the Furious Five,
Talk Talk,
Black Flag,
Tubeway Army,
Procol Harum,
Tommy Roe,
Sugar Minott,
Al Stewart,
Matthew Halsall,
The Men They Couldn't Hang,
The Stooges,
Bobby Sherman,
Rekid,
MC5,
Jacob Miller,
Skaos,
Vladislav Delay,
Fort Wilson Riot,
Rapeman,
The Slits,
DJ Style,
Ultramagnetic MC's,
Lou Reed,
Public Image Ltd.,
Agent Orange,
Can,
Sun Ra Arkestra,
Negative Approach,
The West Coast Pop Art Experimental Band,
48th St. Collective,
T.S.O.L.,
Magazine,
The Jesus and Mary Chain,
the Bar-Kays,
Pagans,
Spandau Ballet,
The Toasters,
Lou Reed & John Cale,
Thee Headcoats,
Jeff Mills,
Curtis Mayfield,
The Buckinghams,
Smog,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.