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 Luxembourg and from Taipei.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Accra 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Kas Product to the punk 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 Marshall Jefferson. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Slave,
Ornette Coleman,
Crash Course in Science,
The Sisters of Mercy,
Kings Of Tomorrow,
Minnie Riperton,
John Foxx,
The Offenders,
Procol Harum,
Kerrie Biddell,
The Moody Blues,
Drive Like Jehu,
Duran Duran,
Matthew Halsall,
Public Image Ltd.,
Ten City,
Das Ding,
Cameo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fluxion,
Qualms,
Sex Pistols,
Wally Richardson,
Harpers Bizarre,
Moebius,
Janne Schatter,
The Raincoats,
Scratch Acid,
Soft Cell,
Gerry Rafferty,
The Saints,
Jerry's Kids,
Terror Squad Feat. Camron,
Gil Scott-Heron & Brian Jackson,
The Cramps,
Faust,
The Index,
Rites of Spring,
Flipper,
ABBA,
Mantronix,
Bad Manners,
Country Teasers,
Toni Rubio,
Grandmaster Flash and the Furious Five,
Mission of Burma,
Morten Harket,
The Peanut Butter Conspiracy,
Vladislav Delay,
Babytalk,
Camberwell Now,
Mary Jane Girls,
The Selecter,
Sarah Menescal,
Sun Ra Arkestra,
Zapp,
Avey Tare & Kría Brekkan,
Dr. Dre and Snoop Doggy Dog,
UT,
Aloha Tigers,
Erykah Badu,
The Count Five,
The Slits,
Adolescents, Adolescents, Adolescents, Adolescents.
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.