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 St Lucia and from Lille.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Bologna 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Marcia Griffiths to the jazz kids.
I played it at the Crocodile.
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 Dave Gahan. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Second Layer 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions 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?
Joey Negro,
Interpol,
The Alarm Clocks,
Soft Machine,
Spandau Ballet,
Tubeway Army,
Funkadelic,
Deepchord,
The Durutti Column,
Notorious Big And Bone Thugs,
Crash Course in Science,
Howard Jones,
Procol Harum,
Nick Fraelich,
Quando Quango,
Derrick May,
Flamin' Groovies,
Sex Pistols,
Accadde A,
Aloha Tigers,
Bad Manners,
Angry Samoans,
Pharaoh Sanders and the Fire Engines,
Brass Construction,
Shuggie Otis,
Drive Like Jehu,
Sun Ra Arkestra,
Deadbeat,
Glambeats Corp.,
Fat Boys,
Ohio Players,
Avey Tare's Slasher Flicks,
Ornette Coleman,
Sonic Youth,
John Cale,
The Blackbyrds,
Kenny Larkin,
Eric Dolphy,
The Birthday Party,
Red Lorry Yellow Lorry,
Morten Harket,
Eyeless In Gaza,
The Flesh Eaters,
Harpers Bizarre,
Flash Fearless,
the Germs,
Zapp,
Kango’s Stein Massive,
The Count Five,
Harmonia,
Terry Callier,
Joy Division,
Sonny Sharrock,
The Cowsills,
Underground Resistance,
Ice-T,
Theoretical Girls,
Todd Terry,
The Monks,
Nation of Ulysses,
Ronan,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.