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 Zimbabwe and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Tehran and Manila.
I'm losing my edge to the art-school Tehran 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 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 Matthew Halsall to the jazz 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 Black Sheep. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
The Cramps,
Lyres,
Gil Scott Heron,
Echo & the Bunnymen,
Marshall Jefferson,
Marc Romboy vs. Booka Shade,
Janne Schatter,
Mo-Dettes,
the Soft Cell,
Pierre Henry,
Bootsy Collins,
Sonic Youth,
Bobby Hutcherson,
The Raincoats,
Sex Pistols,
Soul II Soul,
Archie Shepp,
The Gories,
Tropical Tobacco,
Kool G Rap & DJ Polo,
Moby Grape,
Hot Snakes,
Bootsy's Rubber Band,
Tres Demented,
Wire,
Suicide,
Pole,
Shuggie Otis,
Byron Stingily,
Half Japanese,
Liaisons Dangereuses,
Circle Jerks,
The Saints,
Ten City,
The Neon Judgement,
Youth Brigade,
The Mighty Diamonds,
Cheater Slicks,
James White and The Blacks,
Con Funk Shun,
Orchestral Manoeuvres in the Dark,
The Cure,
DeepChord presents Echospace,
The New Christs,
Pylon,
The Remains,
Bobby Byrd,
John Holt,
Scratch Acid,
Steve Hackett,
Crime,
Anthony Braxton,
Lee Hazlewood,
Louis and Bebe Barron,
Au Pairs,
Skarface,
Matthew Bourne,
Dawn Penn,
a-ha, a-ha, a-ha, a-ha.
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.