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 Chile and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bologna and Columbus.
I'm losing my edge to the art-school Bremen 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Porter Ricks to the disco kids.
I played it at the Hacienda.
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 June of 44. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Cheater Slicks,
Talk Talk,
Gastr Del Sol,
Camberwell Now,
Robert Hood,
The Dirtbombs,
The Victims,
Wire,
The Tremeloes,
Ultra Naté,
Aural Exciters,
Tomorrow,
Lafayette Afro Rock Band,
The Gladiators,
Erykah Badu,
It's A Beautiful Day,
Camron Feat. Memphis Bleek And Beenie Seigel,
Minnie Riperton,
Oppenheimer Analysis,
The Neon Judgement,
Duran Duran,
Fela Kuti,
Smog,
Angels of Light & Akron/Family,
Gary Puckett & The Union Gap,
Fad Gadget,
Skaos,
Bobby Hutcherson,
Sly & The Family Stone,
Electric Light Orchestra,
Todd Terry,
James White and The Blacks,
Pierre Henry,
New Order,
The Sonics,
Mantronix,
Y Pants,
Ultravox,
LL Cool J,
The Gories,
The Count Five,
The Pretty Things,
Warren Ellis,
Crispy Ambulance,
New York Dolls,
Camron Feat. Jay Z And Juelz,
Rhythim Is Rhythim,
Major Organ And The Adding Machine,
Max Romeo,
Rakim,
Traffic Nightmare,
Soul II Soul,
a-ha,
Gregory Isaacs,
Arab on Radar,
Jawbox,
Stockholm Monsters,
Moss Icon,
Gerry Rafferty,
Michelle Simonal,
Infiniti, Infiniti, Infiniti, Infiniti.
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.