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 Bhutan and from Stockholm.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Beijing.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Alphaville to the grime 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 Modern Lovers. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
UT,
Curtis Mayfield,
Smog,
New York Dolls,
Sugar Minott,
Tim Buckley,
Stetsasonic,
Black Sheep,
Quantec,
Bauhaus,
the Association,
The United States of America,
Albert Ayler,
Maleditus Sound,
Whodini,
A Flock of Seagulls,
Loose Ends,
Hashim,
Kango’s Stein Massive,
The Cramps,
Ice-T,
The Tremeloes,
Glenn Branca,
Mo-Dettes,
The Real Kids,
Brick,
Banda Bassotti,
the Human League,
Dorothy Ashby,
OOIOO,
Spandau Ballet,
Joyce Sims,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Susan Cadogan,
This Heat,
Judy Mowatt,
Das Ding,
Wolf Eyes,
Simply Red,
Jerry Gold Smith,
Gabor Szabo,
Freddie Wadling,
The Pretty Things,
Donald Byrd,
Visage,
The Grass Roots,
Jacques Brel,
Mr. Review,
Pantytec,
Scientists,
Sam Rivers,
Anakelly,
Letta Mbulu,
Depeche Mode,
Minnie Riperton,
Magazine,
Main Source,
Kerri Chandler,
Louis and Bebe Barron,
The Smiths,
U.S. Maple,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.