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 Kazakhstan and from Taipei.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Jakarta 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Tommy Roe to the funk kids.
I played it at Trash.
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 Durutti Column. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal funk 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 a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Rites of Spring,
Robert Wyatt,
U.S. Maple,
Henry Cow,
The Victims,
Icehouse,
JFA,
Peter & Gordon,
Bill Wells,
Judy Mowatt,
Silicon Teens,
Massinfluence,
Andrew Hill,
Ralphi Rosario,
Ronan,
New Age Steppers,
Harry Pussy,
Captain Beefheart & His Magic Band,
Main Source,
Flipper,
Cabaret Voltaire,
Country Teasers,
Sexual Harrassment,
Kerrie Biddell,
The Shadows of Knight,
AZ,
Y Pants,
Talk Talk,
Gerry Rafferty,
Fad Gadget,
Maurizio,
Rapeman,
Simply Red,
Black Flag,
Deakin,
B.T. Express,
James White and The Blacks,
T. Rex,
The Black Dice,
Scan 7,
Pere Ubu,
Scott Walker,
Minny Pops,
Reagan Youth,
Country Joe & The Fish,
The Doobie Brothers,
DJ Style,
Fear,
Peter Gordon & Love of Life Orchestra,
Sly & The Family Stone,
Pole,
PIL,
Laurel Aitken,
the Normal,
Lebanon Hanover,
Rekid,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gregory Isaacs,
Cymande,
Barrington Levy,
Eurythmics,
ABBA,
Jimmy McGriff,
Gong, Gong, Gong, Gong.
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.