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 China and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1973.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Scrapy to the rap 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 Spandau Ballet. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Duran Duran record on German import.
I heard that you have a white label of every seminal funk 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 a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
It's A Beautiful Day,
Japan,
Amon Düül,
Zapp,
The Count Five,
Qualms,
Ultimate Spinach,
Connie Case,
The Beau Brummels,
Soft Cell,
the Association,
The Jesus and Mary Chain,
The Cowsills,
A Certain Ratio,
The Electric Prunes,
Thompson Twins,
The Men They Couldn't Hang,
Minnie Riperton,
Television Personalities,
Hasil Adkins,
Black Pus,
Kas Product,
Glambeats Corp.,
Clear Light,
Harry Pussy,
Pussy Galore,
The New Christs,
Lyres,
Delta 5,
Siouxsie and the Banshees,
Minutemen,
Roy Ayers,
The Mighty Diamonds,
Hashim,
The Associates,
Grandmaster Flash and the Furious Five,
Babytalk,
Fear,
The Gun Club,
Gian Franco Pienzio,
The American Breed,
Ultramagnetic MC's,
Goldenarms,
Index,
Jesper Dahlbäck,
AZ,
Mr. Review,
Red Lorry Yellow Lorry,
Silicon Teens,
Moss Icon,
Chrome,
Deakin,
Lou Reed & John Cale,
Das Ding,
Matthew Halsall,
Bootsy's Rubber Band,
JFA,
Bootsy Collins,
The Seeds,
Albert Ayler,
R.M.O.,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.