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 Yemen and from Lyon.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1976.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 rhodes sounds with much patience.
I was there when David Bowie 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 Symarip to the disco kids.
I played it at CBGB's.
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 Brick. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every The Kinks 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Brothers Johnson,
Fugazi,
Grandmaster Flash and the Furious Five,
Talk Talk,
AZ,
Jeff Lynne,
Kenny Larkin,
The Five Americans,
the Association,
Kas Product,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Slave,
Eve St. Jones,
David McCallum,
The Cure,
Frankie Knuckles,
Lindisfarne,
Underground Resistance,
Minutemen,
Echo & the Bunnymen,
T. Rex,
New Order,
Pole,
Connie Case,
Peter & Gordon,
Terrestrial Tones,
Scott Walker + Sunn O))),
Dead Boys,
The Tremeloes,
Jesper Dahlbäck,
Urselle,
Tears for Fears,
The Fuzztones,
Orchestral Manoeuvres in the Dark,
Outsiders,
Q and Not U,
Subhumans,
John Holt,
Dark Day,
Leonard Cohen,
Electric Prunes,
Derrick Morgan,
Jeru the Damaja,
Buzzcocks,
Yusef Lateef,
Ohio Players,
Fela Kuti,
Quadrant,
Barry Ungar,
Pagans,
Tommy Roe,
Joensuu 1685,
Monolake,
Toni Rubio,
Fat Boys,
Mandrill,
The Sisters of Mercy,
Joe Finger,
The Dirtbombs,
The Modern Lovers,
Lebanon Hanover,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.