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 Malta and from Columbus.
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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school Columbus 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 The Walker Brothers to the dance kids.
I played it at the Spitz.
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 In Retrospect. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Yellowson,
The Raincoats,
Gang of Four,
Strawberry Alarm Clock,
The Monks,
Urselle,
Public Image Ltd.,
Bluetip,
Harpers Bizarre,
X-101,
Big Daddy Kane,
Black Flag,
Lindisfarne,
Jesper Dahlback,
John Lydon,
Electric Prunes,
The Evens,
Ice-T,
Dr. Dre and Snoop Doggy Dog,
Funky Four + One,
Michelle Simonal,
Rhythm & Sound,
Second Layer,
Rapeman,
X-Ray Spex,
Agitation Free,
Barrington Levy,
John Holt,
The Beau Brummels,
Fifty Foot Hose,
Piero Umiliani,
The Royal Family And The Poor,
Blossom Toes,
Peter & Gordon,
Reagan Youth,
Lou Reed & John Cale,
Unwound,
Essential Logic,
Khruangbin,
Reuben Wilson,
Dave Gahan,
Altered Images,
UT,
Sam Rivers,
Flipper,
Ronnie Foster,
The Cowsills,
The Golliwogs,
Boz Scaggs,
The Count Five,
B.T. Express,
The Real Kids,
Terror Squad Feat. Camron,
Maurizio,
Los Fastidios,
Scan 7,
Tropical Tobacco,
Bobby Hutcherson,
New Age Steppers,
Donny Hathaway,
Josef K,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.