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 Tanzania and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Robert Palmer 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 Althea and Donna to the rap 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 Kerrie Biddell. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Echo & the Bunnymen record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Nik Kershaw,
John Lydon,
Scrapy,
Babytalk,
Adolescents,
The Golliwogs,
The Wake,
Beasts of Bourbon,
Janne Schatter,
Ultravox,
The Raincoats,
Todd Terry,
the Sonics,
Crash Course in Science,
Kool G Rap & DJ Polo,
Hot Snakes,
Underground Resistance,
DJ Sneak,
the Normal,
The Cure,
Fugazi,
Tom Boy,
Laurel Aitken,
Duran Duran,
Strawberry Alarm Clock,
Cabaret Voltaire,
Barrington Levy,
Television,
Angels of Light & Akron/Family,
Scientists,
Kool Moe Dee,
Gary Puckett & The Union Gap,
Los Fastidios,
Jeff Lynne,
Robert Görl,
Chris Corsano,
World's Most,
Grauzone,
The Walker Brothers,
John Foxx,
Throbbing Gristle,
It's A Beautiful Day,
Eden Ahbez,
The Saints,
David Bowie,
Girls At Our Best!,
The American Breed,
Absolute Body Control,
10cc,
Matthew Halsall,
The Trojans,
Whodini,
Bad Manners,
Franke,
Pharoah Sanders,
Main Source,
Basic Channel,
Peter & Gordon,
Swans,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.