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 Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
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 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 Eddi Front to the punk 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 The Durutti Column. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Sugar Minott 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Fort Wilson Riot,
Dennis Brown,
Stereo Dub,
Pere Ubu,
Cluster,
Intrusion,
Unrelated Segments,
Grandmaster Flash and the Furious Five,
Morten Harket,
the Bar-Kays,
Black Moon,
Can,
The Velvet Underground,
Sam Rivers,
Warren Ellis,
Notorious BIG live in Amsterdam,
Peter Gordon & Love of Life Orchestra,
The Sound,
Byron Stingily,
the Normal,
The Standells,
The Trojans,
Lungfish,
Adolescents,
The Move,
Heaven 17,
New Order,
Reuben Wilson,
Severed Heads,
Sun City Girls,
Eden Ahbez,
Jawbox,
Fela Kuti,
The Detroit Cobras,
cv313,
Camron Feat. Memphis Bleek And Beenie Seigel,
Magazine,
The Pop Group,
Magma,
June of 44,
Art Ensemble Of Chicago,
The Young Rascals,
Kas Product,
The Men They Couldn't Hang,
James White and The Blacks,
Underground Resistance,
8 Eyed Spy,
Soft Cell,
Pet Shop Boys,
The West Coast Pop Art Experimental Band,
Joe Smooth,
Bauhaus,
The Mighty Diamonds,
John Holt,
Flash Fearless,
Ornette Coleman,
Manfred Mann's Earth Band,
The Smoke,
Donny Hathaway,
Neil Young,
Tres Demented,
Clear Light,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.