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 Portugal and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 The Selecter to the funk kids.
I played it at CBGB's.
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 Masters at Work. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Surgeon 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Pet Shop Boys,
Vladislav Delay,
Bill Wells,
The Gories,
Kerri Chandler,
Easy Going,
Manfred Mann's Earth Band,
MC5,
Rakim,
The Move,
Beasts of Bourbon,
the Germs,
The Moleskins,
Massinfluence,
Avey Tare's Slasher Flicks,
Eurythmics,
Bobby Byrd,
The Mighty Diamonds,
Scion,
Scratch Acid,
the Human League,
The J.B.'s,
Masters at Work,
Inner City,
Fugazi,
The Mojo Men,
Spandau Ballet,
Eddi Front,
Tomorrow,
The Litter,
Sun City Girls,
F. McDonald,
Skaos,
Major Organ And The Adding Machine,
Jesper Dahlbäck,
Althea and Donna,
Cluster,
The United States of America,
Janne Schatter,
Boogie Down Productions,
The Happenings,
Reuben Wilson,
The Velvet Underground,
Gregory Isaacs,
Section 25,
Buzzcocks,
Little Man,
The Young Rascals,
Eli Mardock,
Boz Scaggs,
the Fania All-Stars,
Gil Scott Heron,
Matthew Bourne,
cv313,
Gong,
The Cowsills,
Howard Jones,
Hashim,
The Skatalites,
Scott Walker,
The Vogues, The Vogues, The Vogues, The Vogues.
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.