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 Denmark and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1979.
I'm losing my edge.
To all the kids in Seoul and Beijing.
I'm losing my edge to the art-school Philadelphia 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 synthesizer 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 Au Pairs to the rap 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 Sisters of Mercy. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Stockholm Monsters 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 '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Deutsch Amerikanische Freundschaft,
Sixth Finger,
Eve St. Jones,
Kenny Larkin,
Cluster,
Youth Brigade,
Little Man,
Basic Channel,
Alphaville,
The West Coast Pop Art Experimental Band,
Lafayette Afro Rock Band,
Wire,
Jimmy McGriff,
Country Joe & The Fish,
Guru Guru,
Brass Construction,
Visage,
Gang of Four,
Tommy Roe,
Public Image Ltd.,
The Detroit Cobras,
The Mighty Diamonds,
Fela Kuti,
10cc,
Malaria!,
Index,
Kauko Röyhkä ja Narttu,
Shuggie Otis,
In Retrospect,
New Order,
The Index,
The Human League,
Silicon Teens,
Wings,
Chris & Cosey,
Sarah Menescal,
Darondo,
Jacob Miller,
Donald Byrd,
Section 25,
Kurtis Blow,
Joe Finger,
Ultra Naté,
Oppenheimer Analysis,
Oneida,
David Axelrod,
Minny Pops,
Amon Düül II,
Television Personalities,
Kaleidoscope,
Sällskapet,
Stiv Bators,
Lakeside,
Easy Going,
Lindisfarne,
The Grass Roots,
The Music Machine,
Scratch Acid,
Ornette Coleman,
AZ,
Royal Trux,
Crash Course in Science,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.