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 Sierra Leone and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Underground Resistance to the rock kids.
I played it at the Astoria.
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 Cowsills. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Cluster 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
It's A Beautiful Day,
A Flock of Seagulls,
Organ,
Nick Fraelich,
JFA,
The Mummies,
Qualms,
Bootsy's Rubber Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sällskapet,
Barrington Levy,
R.M.O.,
The Durutti Column,
EPMD,
The Fortunes,
New Age Steppers,
Metal Thangz,
The Detroit Cobras,
Juan Atkins,
F. McDonald,
Johnny Clarke,
Royal Trux,
Animal Collective,
Slick Rick,
Stereo Dub,
Fifty Foot Hose,
the Association,
Hot Snakes,
Carl Craig,
Wasted Youth,
Wings,
Massinfluence,
Thee Headcoats,
Von Mondo,
Dark Day,
T.S.O.L.,
Lalo Schifrin,
Terror Squad Feat. Camron,
Wally Richardson,
Tubeway Army,
Pylon,
Japan,
The Seeds,
Susan Cadogan,
Scott Walker,
L. Decosne,
U.S. Maple,
The Techniques,
Country Joe & The Fish,
The Fall,
Freddie Wadling,
Darondo,
Public Enemy,
Ornette Coleman,
Ohio Players,
The Alarm Clocks,
The Electric Prunes,
Ludus,
Ituana,
Dennis Brown,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.