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 France and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 Bremen and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Kas Product to the disco kids.
I played it at the Troubador.
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 Howard Jones. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal dance 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 a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Aaron Thompson,
Henry Cow,
Pere Ubu,
Country Joe & The Fish,
Kango’s Stein Massive,
a-ha,
Aswad,
Public Enemy,
Young Marble Giants,
Steve Hackett,
Delta 5,
Roy Ayers Ubiquity,
The Angels of Light,
Funky Four + One,
Sarah Menescal,
the Bar-Kays,
Gregory Isaacs,
The Velvet Underground,
New York Dolls,
PIL,
The Five Americans,
June of 44,
London Community Gospel Choir,
Newcleus,
Procol Harum,
Vainqueur,
The Smiths,
Thinking Fellers Union Local 282,
Glambeats Corp.,
AZ,
T.S.O.L.,
ABBA,
Sound Behaviour,
Soul Sonic Force,
Mad Mike,
Pussy Galore,
Warsaw,
Lou Reed & Metallica,
The J.B.'s,
Kings Of Tomorrow,
Bobbi Humphrey,
Eden Ahbez,
Easy Going,
Aloha Tigers,
Bang on a Can All-Stars,
Sonny Sharrock,
Schoolly D,
Zapp,
James Chance & The Contortions,
The Real Kids,
Mr. Review,
Man Parrish,
Andrew Hill,
The Birthday Party,
Joey Negro,
DJ Sneak,
Pantaleimon,
Camron Feat. Jay Z And Juelz,
Royal Trux,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.