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 Sri Lanka and from Halifax.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Accra.
I'm losing my edge to the art-school Portland 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 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 Banda Bassotti to the techno kids.
I played it at the Troubador.
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 Pete Rock & C.L. Smooth. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Lalo Schifrin 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
X-102,
Jawbox,
Technova,
Porter Ricks,
Black Pus,
Blancmange,
Alice Coltrane,
The Dirtbombs,
Roy Ayers,
New Age Steppers,
The Residents,
Aloha Tigers,
Captain Beefheart & His Magic Band,
Flash Fearless,
The Divine Comedy,
Lyres,
Crispian St. Peters,
Jerry Gold Smith,
Vaughan Mason & Crew,
The Vogues,
H. Thieme,
Can,
The Zeros,
a-ha,
Motorama,
A Certain Ratio,
Barclay James Harvest,
Fear,
Peter and Kerry,
Minor Threat,
Kenny Larkin,
Yaz,
Rhythm & Sound,
Sex Pistols,
Neil Young & Crazy Horse,
Big Daddy Kane,
Buzzcocks,
Los Fastidios,
Accadde A,
Supertramp,
Magazine,
Con Funk Shun,
Reuben Wilson,
The Star Department,
Ralphi Rosario,
Bobby Womack,
Lou Reed,
Rhythim Is Rhythim,
10cc,
Country Teasers,
The Techniques,
Nirvana,
DJ Sneak,
Toni Rubio,
Peter Gordon & Love of Life Orchestra,
Marc Romboy vs. Booka Shade,
Selector Dub Narcotic,
Crash Course in Science,
Spoonie Gee,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.