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 Iran and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1978.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Columbus 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 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 The Grass Roots to the crunk kids.
I played it at the Spitz.
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 Scott Walker. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
Kevin Saunderson,
Marcia Griffiths,
Sad Lovers and Giants,
Jesper Dahlbäck,
The Names,
Kenny Larkin,
Kango’s Stein Massive,
Arthur Verocai,
The Leaves,
John Holt,
Scientists,
Country Joe & The Fish,
New Order,
Soft Cell,
Marvin Gaye,
Ash Ra Tempel,
The Neon Judgement,
Aaron Thompson,
Avey Tare's Slasher Flicks,
Gil Scott Heron,
Toni Rubio,
The Dave Clark Five,
Pete Rock & C.L. Smooth,
Lightning Bolt,
Silicon Teens,
Fat Boys,
Vaughan Mason & Crew,
ABC,
Scion,
Marshall Jefferson,
Fluxion,
Chris & Cosey,
Kurtis Blow,
The Sound,
Groovy Waters,
Kaleidoscope,
Eden Ahbez,
The Beau Brummels,
Nirvana,
Röyhkä ja Rättö ja Lehtisalo,
Johnny Osbourne,
Oppenheimer Analysis,
Mandrill,
Reuben Wilson,
Joensuu 1685,
Gabor Szabo,
Tom Boy,
LL Cool J,
Guru Guru,
Lyres,
The Residents,
Oneida,
Avey Tare,
Dawn Penn,
Pulsallama,
Prince Buster,
Jacques Brel,
The Velvet Underground,
Harry Pussy,
Girls At Our Best!,
Tropical Tobacco,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.