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 Argentina and from Columbus.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Manila and Seoul.
I'm losing my edge to the art-school Toronto 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Susan Cadogan to the techno 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 Kaleidoscope. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
The American Breed,
June of 44,
the Association,
Nick Cave & The Bad Seeds,
48th St. Collective,
It's A Beautiful Day,
Scan 7,
Fat Boys,
Babytalk,
Rotary Connection,
Tomorrow,
Oppenheimer Analysis,
Roger Hodgson,
Barry Ungar,
Soul II Soul,
Leonard Cohen,
Kool Moe Dee,
Stiv Bators,
Dead Boys,
The Angels of Light,
The Wake,
Lakeside,
Wolf Eyes,
Scion,
Junior Murvin,
Urselle,
Jesper Dahlback,
World's Most,
Peter and Kerry,
The Names,
Magazine,
The Pop Group,
Pet Shop Boys,
Circle Jerks,
Ponytail,
Unwound,
The Knickerbockers,
Parry Music,
Technova,
Monolake,
Lou Reed & John Cale,
DeepChord presents Echospace,
The Gories,
The Kinks,
Faust,
Cecil Taylor,
cv313,
James White and The Blacks,
The Fire Engines,
Tropical Tobacco,
Gerry Rafferty,
Judy Mowatt,
R.M.O.,
Moss Icon,
The Grass Roots,
Jerry's Kids,
David McCallum,
Gang of Four,
Cybotron,
Dorothy Ashby,
Echospace, Echospace, Echospace, Echospace.
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.