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 Bahamas and from Bremen.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school London 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 1976 at the first Chic practice in a loft in New York.
I was working on the rhodes 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 Yellowson to the funk kids.
I played it at Cafe Wha.
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 Yazoo. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Jeff Mills,
KRS-One,
Drive Like Jehu,
Goldenarms,
A Certain Ratio,
Fluxion,
Jerry Gold Smith,
The Fugs,
The Associates,
Ash Ra Tempel,
Das Ding,
Marc Romboy vs. Booka Shade,
R.M.O.,
James White and The Blacks,
The J.B.'s,
The Young Rascals,
World's Most,
The Pop Group,
Gil Scott Heron,
Susan Cadogan,
Junior Murvin,
Rahsaan Roland Kirk,
Interpol,
The Wake,
Desert Stars,
Visionaries,LMNO, T- Love & Iriscience,
Lindisfarne,
Dawn Penn,
Reuben Wilson,
Inner City,
The Dead C,
Art Ensemble Of Chicago,
Bobby Byrd,
Avey Tare's Slasher Flicks,
AZ,
Altered Images,
Justin Hinds & The Dominoes,
Lebanon Hanover,
Captain Beefheart & His Magic Band,
Simply Red,
Alton Ellis,
Yellowson,
Ken Boothe,
Nico,
Robert Hood,
Rakim,
Quadrant,
The Names,
Red Lorry Yellow Lorry,
The Durutti Column,
Brick,
Minutemen,
Lyres,
Japan,
The Techniques,
Scientists,
The Fuzztones,
Sound Behaviour,
Monolake,
Audionom,
The Shadows of Knight,
Roxette, Roxette, Roxette, Roxette.
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.