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 Pakistan and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lille and Manchester.
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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Mo-Dettes to the dance kids.
I played it at the Roxy.
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 Audionom. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
DJ Style,
Black Moon,
Barry Ungar,
The Trojans,
The Music Machine,
Bootsy Collins,
Marmalade,
The Remains,
Gian Franco Pienzio,
Pole,
Fear,
Avey Tare's Slasher Flicks,
Mary Jane Girls,
Nico,
Eddi Front,
the Slits,
Todd Terry,
Eyeless In Gaza,
Marcia Griffiths,
Roy Ayers,
Andrew Ashong & Theo Parrish,
Gang Green,
Sandy B,
Talk Talk,
Ornette Coleman,
Camberwell Now,
Ten City,
Minnie Riperton,
DNA,
The Slackers,
Warsaw,
Crispian St. Peters,
The Searchers,
Sun Ra,
Lalann,
Tim Buckley,
Newcleus,
Eli Mardock,
Mark Hollis,
The Durutti Column,
The Cramps,
China Crisis,
Porter Ricks,
The Angels of Light,
Cal Tjader,
Stetsasonic,
The Electric Prunes,
Adolescents,
Bootsy's Rubber Band,
Frankie Knuckles,
Supertramp,
Roy Ayers Ubiquity,
Echospace,
Aaron Thompson,
Stereo Dub,
Basic Channel,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.