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 1963 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare 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 A Flock of Seagulls to the dance kids.
I played it at CBGB's.
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 Barbara Tucker. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
The Index,
Rakim,
The Wake,
Nico,
Ultra Naté,
Index,
Kaleidoscope,
Echo & the Bunnymen,
Cameo,
Delta 5,
Q65,
Joey Negro,
Glenn Branca,
Loose Ends,
Popol Vuh,
June of 44,
Orchestral Manoeuvres in the Dark,
The Associates,
Bizarre Inc.,
Lightning Bolt,
Grandmaster Flash and the Furious Five,
Sun Ra,
Shoche,
Fugazi,
The Fortunes,
The Gap Band,
the Association,
Oppenheimer Analysis,
X-102,
Stockholm Monsters,
Chris Corsano,
Silicon Teens,
Zero Boys,
Quadrant,
Tubeway Army,
Deadbeat,
June Days,
Tommy Roe,
Gil Scott Heron,
Brothers Johnson,
Pussy Galore,
Notorious BIG live in Amsterdam,
Curtis Mayfield,
Gary Puckett & The Union Gap,
Ice-T,
Crash Course in Science,
Pantaleimon,
Bob Dylan,
Hashim,
Gichy Dan,
Eddi Front,
Kango’s Stein Massive,
Juan Atkins,
Steve Hackett,
Connie Case,
The Blackbyrds,
Joensuu 1685,
Soul Sonic Force,
Strawberry Alarm Clock,
The Moody Blues,
Ajijia Myrayebe,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.