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 Tajikistan and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Seoul and Beijing.
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 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 Lalann to the disco 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 Pylon. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Gastr Del Sol,
Chrome,
It's A Beautiful Day,
Man Parrish,
48th St. Collective,
Fort Wilson Riot,
Boogie Down Productions,
Hoover,
DJ Style,
Scientists,
The Gun Club,
Black Sheep,
Dual Sessions,
Soft Machine,
The Move,
The Music Machine,
Moss Icon,
Derrick May,
the Sonics,
Malaria!,
Terry Callier,
Manfred Mann's Earth Band,
The Sonics,
JFA,
The Cowsills,
Spandau Ballet,
The Alarm Clocks,
The Vogues,
Todd Terry,
Quadrant,
Radiopuhelimet,
Cameo,
Robert Görl,
The Trojans,
Dawn Penn,
Lonnie Liston Smith,
Matthew Bourne,
Parry Music,
Yellowson,
Byron Stingily,
Jesper Dahlback,
Tropical Tobacco,
Cheater Slicks,
Flash Fearless,
Accadde A,
Hardrive,
Faust,
Fluxion,
The Red Krayola,
Pete Rock & C.L. Smooth,
Joey Negro,
Ornette Coleman,
John Lydon,
Davy DMX,
The Angels of Light,
Curtis Mayfield,
Ultra Naté,
Skaos,
Althea and Donna,
The Golliwogs,
Urselle,
Eyeless In Gaza,
Electric Light Orchestra,
Outsiders, Outsiders, Outsiders, Outsiders.
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.