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 Philippines and from Stockholm.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Stockholm 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 oboe sounds with much patience.
I was there when Holger Czukay 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 John Foxx to the disco 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 Monks. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Minutemen 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 marimba and an organ 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 synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Spandau Ballet,
Kaleidoscope,
Technova,
Swell Maps,
Andrew Hill,
Joe Finger,
Gabor Szabo,
Neu!,
The Remains,
The Selecter,
Royal Trux,
kango's stein massive,
Red Lorry Yellow Lorry,
The Pop Group,
Loose Ends,
Josef K,
Y Pants,
Quadrant,
Blossom Toes,
The Offenders,
Subhumans,
Eric Copeland,
DJ Sneak,
The Royal Family And The Poor,
T. Rex,
Desert Stars,
David McCallum,
8 Eyed Spy,
The Seeds,
Matthew Bourne,
Ajijia Myrayebe,
The Fuzztones,
Ultravox,
Hoover,
The Smoke,
Parry Music,
Peter & Gordon,
Stereo Dub,
Steve Hackett,
Public Enemy,
Chris Corsano,
Selector Dub Narcotic,
Amazonics,
The Young Rascals,
The West Coast Pop Art Experimental Band,
Basic Channel,
Liaisons Dangereuses,
Main Source,
Aswad,
Ohio Players,
Derrick May,
Mark Hollis,
Panda Bear,
Anakelly,
Robert Görl,
Lalo Schifrin,
Chrome,
The Vogues,
Bauhaus,
Röyhkä ja Rättö ja Lehtisalo,
Arthur Verocai,
Michelle Simonal,
Visionaries,LMNO, T- Love & Iriscience,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.