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 Bolivia and from Jakarta.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Tehran 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Brick to the crunk kids.
I played it at the 40 Watt.
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 Bronski Beat. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Little Man 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin 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 Litter,
Davy DMX,
Matthew Halsall,
The Fuzztones,
Blossom Toes,
Traffic Nightmare,
Jesper Dahlback,
Boredoms,
Wighnomy Brothers & Robag Wruhme,
X-101,
Spoonie Gee,
The Motions,
Eddi Front,
The Remains,
The Buckinghams,
Roger Hodgson,
L. Decosne,
The Divine Comedy,
Wally Richardson,
One Last Wish,
Arab on Radar,
Lindisfarne,
Curtis Mayfield,
Q and Not U,
Crime,
Rosa Yemen,
The Invisible,
EPMD,
Hot Snakes,
Marshall Jefferson,
Livin' Joy,
Magazine,
The Pop Group,
Sun City Girls,
Roy Ayers,
The Kinks,
The Zeros,
Bronski Beat,
Pulsallama,
A Certain Ratio,
Susan Cadogan,
Marvin Gaye,
Tim Buckley,
Freddie Wadling,
Lalann,
Minor Threat,
Radiopuhelimet,
The Star Department,
The Cowsills,
Gong,
Sällskapet,
KRS-One,
The Red Krayola,
Youth Brigade,
Suburban Knight,
Röyhkä ja Rättö ja Lehtisalo,
Electric Light Orchestra,
Dawn Penn,
Rakim,
Ajijia Myrayebe,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.