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 Albania and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Manchester 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 organ sounds with much patience.
I was there when David Bowie 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 Unrelated Segments to the dance kids.
I played it at the Roxy.
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 Liliput. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Byron Stingily 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 '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Sällskapet,
Tommy Roe,
The Young Rascals,
These Immortal Souls,
Gil Scott-Heron & Brian Jackson,
Soul Sonic Force,
The Associates,
Audionom,
The Jesus and Mary Chain,
Jeff Mills,
Pole,
Soft Cell,
Letta Mbulu,
Max Romeo,
Vaughan Mason & Crew,
The Wake,
Brick,
Gang of Four,
The Motions,
Cal Tjader,
Maurizio,
KRS-One,
Siglo XX,
Cluster,
Lee Hazlewood,
Harmonia,
The Mummies,
Roxette,
Ten City,
Kool G Rap & DJ Polo,
Traffic Nightmare,
Technova,
John Holt,
Avey Tare's Slasher Flicks,
Howard Jones,
John Cale,
H. Thieme,
Joensuu 1685,
The Vogues,
Von Mondo,
Gil Scott Heron,
Major Organ And The Adding Machine,
Cameo,
Jeru the Damaja,
Swans,
Derrick Morgan,
De La Soul & Jungle Brothers,
Deutsch Amerikanische Freundschaft,
La Düsseldorf,
Pantytec,
Crash Course in Science,
Basic Channel,
Liliput,
Marmalade,
Radiopuhelimet,
Loose Ends,
Hoover,
Severed Heads,
The Velvet Underground,
DJ Style, DJ Style, DJ Style, DJ Style.
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.