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 Grenada and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Lyon 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 Josef K practice in a loft in Edinburgh.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Slave 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 The Gap Band. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Jerry Gold Smith,
T. Rex,
Aural Exciters,
The Leaves,
The Saints,
Quando Quango,
Rekid,
Qualms,
London Community Gospel Choir,
Pet Shop Boys,
Strawberry Alarm Clock,
Altered Images,
Peter Gordon & Love of Life Orchestra,
Motorama,
The Angels of Light,
The Music Machine,
Drive Like Jehu,
F. McDonald,
Pere Ubu,
Severed Heads,
The New Christs,
The Victims,
Eve St. Jones,
Y Pants,
Audionom,
Tim Buckley,
Warren Ellis,
Al Stewart,
The Alarm Clocks,
Matthew Halsall,
The Toasters,
Ornette Coleman,
Dave Gahan,
Masters at Work,
Bluetip,
Arab on Radar,
Freddie Wadling,
Alison Limerick,
The Trojans,
Deutsch Amerikanische Freundschaft,
Basic Channel,
Wolf Eyes,
FM Einheit,
Lou Reed & Metallica,
Agitation Free,
The Techniques,
Black Pus,
Inner City,
Pagans,
Roy Ayers Ubiquity,
The Fuzztones,
UT,
Bad Manners,
Notorious BIG live in Amsterdam,
Cabaret Voltaire,
Skarface,
Mad Mike,
Rhythm & Sound,
Be Bop Deluxe,
The Chocolate Watch Band,
Fatback Band,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.