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 Uganda and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Milan.
I'm losing my edge to the art-school Johannesburg 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 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 Ronan to the rap kids.
I played it at Trash.
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 Y Pants. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Scrapy,
R.M.O.,
X-102,
Blake Baxter,
Art Ensemble Of Chicago,
Vaughan Mason & Crew,
Groovy Waters,
Ponytail,
Rotary Connection,
Kenny Larkin,
Gang Gang Dance,
Black Moon,
Lindisfarne,
Tubeway Army,
Eve St. Jones,
Lakeside,
Soft Cell,
the Slits,
Mad Mike,
Stetsasonic,
Minor Threat,
Crime,
Rod Modell,
Reagan Youth,
Sandy B,
Gastr Del Sol,
Bobby Byrd,
Pet Shop Boys,
Warsaw,
the Association,
Eric Dolphy,
Deutsch Amerikanische Freundschaft,
The Buckinghams,
Janne Schatter,
Country Joe & The Fish,
Dark Day,
Bizarre Inc.,
The Mighty Diamonds,
Bobby Womack,
Roxy Music,
Sex Pistols,
Cheater Slicks,
Sight & Sound,
John Foxx,
Joyce Sims,
Yusef Lateef,
The J.B.'s,
Yaz,
Grauzone,
Ultimate Spinach,
The New Christs,
Avey Tare's Slasher Flicks,
The Star Department,
The Kinks,
Rites of Spring,
The Fugs,
Schoolly D,
The Techniques,
London Community Gospel Choir,
Lee Hazlewood,
Urselle,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.