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 Iran and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1973.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Salvador 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 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 Sun Ra Arkestra to the grime kids.
I played it at Cafe Wha.
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 Roxette. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Soul II Soul,
The Birthday Party,
Vainqueur,
Marc Romboy vs. Booka Shade,
Graham Central Station,
The Wake,
Avey Tare & Kría Brekkan,
Be Bop Deluxe,
The Smiths,
Siouxsie and the Banshees,
Deadbeat,
Jimmy McGriff,
Bobby Womack,
The Cowsills,
Neil Young,
Second Layer,
Notorious Big And Bone Thugs,
Bootsy's Rubber Band,
Radio Birdman,
Wighnomy Brothers & Robag Wruhme,
Babytalk,
Camron Feat. Memphis Bleek And Beenie Seigel,
Make Up,
The Real Kids,
Ornette Coleman,
Tres Demented,
The Leaves,
The Monochrome Set,
Vaughan Mason & Crew,
DJ Style,
Spandau Ballet,
Gang Gang Dance,
Popol Vuh,
Sun City Girls,
The Raincoats,
Peter & Gordon,
Bill Near,
Barclay James Harvest,
cv313,
Matthew Halsall,
10cc,
The Happenings,
The Five Americans,
LL Cool J,
The Searchers,
Notorious BIG live in Amsterdam,
Black Moon,
The Chocolate Watch Band,
Model 500,
EPMD,
Amazonics,
Clear Light,
The Flesh Eaters,
Crispy Ambulance,
Negative Approach,
New York Dolls,
Peter Gordon & Love of Life Orchestra,
Lower 48, Lower 48, Lower 48, Lower 48.
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.