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 Zimbabwe and from Columbus.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1971.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Mumbai 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 linndrum 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 Flipper to the punk kids.
I played it at the Roxy.
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 48th St. Collective. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal rap 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Avey Tare,
Mad Mike,
FM Einheit,
Peter and Kerry,
Negative Approach,
Black Bananas,
Electric Light Orchestra,
Al Stewart,
Deadbeat,
Sunsets and Hearts,
Peter Gordon & Love of Life Orchestra,
Aswad,
Man Parrish,
The American Breed,
Camberwell Now,
Franke,
JFA,
PIL,
Buzzcocks,
Sällskapet,
The Royal Family And The Poor,
Pagans,
DNA,
The Associates,
Jesper Dahlbäck,
Little Man,
the Soft Cell,
The Monochrome Set,
Thee Headcoats,
Can,
Index,
Animal Collective,
Bluetip,
The Skatalites,
Cal Tjader,
The Fortunes,
Teenage Jesus and the Jerks,
DJ Sneak,
Major Organ And The Adding Machine,
Pantaleimon,
Deutsch Amerikanische Freundschaft,
Pet Shop Boys,
Wasted Youth,
London Community Gospel Choir,
Byron Stingily,
Pere Ubu,
Johnny Osbourne,
The Saints,
Patti Smith,
Intrusion,
Blake Baxter,
Brass Construction,
Monolake,
The Barracudas,
Make Up,
Duran Duran,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.